Latest / Houselights: A Film Director Podcast / Tron (1982) - Steven Lisberger | Houselights #121: Wing of Tron

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Tron (1982) - Steven Lisberger | Houselights #121: Wing of Tron · Houselights: A Film Director Podcast

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Welcome to the nerd Polity Greetings Programs. Welcome back to Houselights, our director
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discussion show here on the Nerd Party Network. Today, we are entering the
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wing of Tron as we cover the two films of the Tron franchise, which
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kicked off in nineteen eighty two, with director Stephen Lisberger. I'm Darren Moser
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and I am joined again by my friends the MPP Master podcast program, Tristan
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Riddell and my favorite program, He Fights for the Users. John. Yes,
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gentlemen, I hope your computers aren't situated in front of giant lasers because
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who knows what will happen as we talk about nineteen eighty two Tron. Yeah,
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that part right off the bat. I'm like, why of all the
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places to put the terminal? Hang on? One second, the guy with
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a giant three D printer in his house is telling me not to be situated
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near like big lasers and stuff like that. True, here in the back,
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but it is not like aimed at my desk. I know it's not
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aimed at the back of his head. It's an innocent time in eighty two.
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People aren't thinking to look for lasers and stuff like that. Around every
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corner. It's not like today Tronosha is gonna be like now wait, now,
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wait, where did you put the laser and where is it aiming?
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Well? How could he know? How well? You know? Now,
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granted the story would have been much different if there was no laser, but
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so we're glad it's there. Yeah. So this is the nineteen eighty two
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tron released on July ninth, forty one years ago. Just like another small
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little film, Star Trek two, which we seem to like this year.
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It's a it was a good time for the beginning age of CGI, and
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we all know where that went. But so John, we're going to start
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with you. Do you recall the first time that you activated your program,
2:17
logged into the MCP level seven access and all that. Was it in theaters
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or was it a little bit later. I'm pretty sure it wasn't in theaters,
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because my memory is that this was a video rental. We were early
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adopters. My dad loved movies and as soon like we were the first people
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on the block with a VHS. Okay, like we had like that that
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that ten to twenty pound VCR ran without a problem for decades, like it
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is literally one of those things where it is that that guidepost of you know,
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back in Mad Dare they made things to less. Well, honestly,
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this vc are lasted for literally thirty five plus years without an issue, and
3:04
you could have killed people with it, so like it was the best of
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both worlds. But yeah, this would have been a rental. And my
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dad loved you for saying VCR and not a VHS player, which so many
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people do ever since DVD came out like it's DVD player, Blu ray player,
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and then all of a sudden we rewrote history to call it a VHS
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player. So I applaud you for using it correctly. Well, thank you,
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But I will point out my dad was one that went for VHS.
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He knew that was going to be the winning format. He had no time
3:34
for beta, and so this would have been a rental. I know for
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a fact my dad would have been the one to get it. This would
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have been right up my dad's alley and we would have just I remember seeing
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it and as a kid it was fascinating to me, like this is one
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of those ones where for good or for ill, I know that it helped
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shape things I like to see on screen, and so my earliest memory is,
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yes, in my old house on thirty eight twenty Mount only Wayne seeing
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this on our VCR with the boat anchor of a VCR. Yes, yeah,
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this was probably also a rental for me. But yeah, I think
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you really nailed at John when you said this was such a formative movie.
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It's science fiction but also kind of a dose of fantasy in a way,
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like still science fiction, but it's like visualizing computer programs. And I always
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got really focused on the lore of Oh, like, okay, that's the
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IO tower. I kind of understand what that is, and oh, and
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this is to represent that. And then it starts to kind of break down
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when they have like these random costumed people walking around like light bulbs and slinkies,
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and I'm like, I don't really know what those are supposed to be,
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but that's okay. Oh look there's a light disc battle going on.
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Attention diverted. But yeah, this movie, I mean, gosh, probably
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every single person who ever wanted to get into special effects was impacted by this
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movie. People who wanted to become directors and just it's it's a fun story
5:15
as well. It's it's I don't think you can take it too seriously.
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Kevin Flynn definitely doesn't. But but what about you, Tristan, was when
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was the first time that you caught this? Was it on TV being broadcast
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or did you grab the DVD before they became impossible to find before Tron Legacy
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came out? This was this is one of those movies that just existed in
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my house, like it just I have no memory of first watching it.
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It just always was this was like this again, like this was like like
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John, you know, my dad absolutely loved this movie. We probably had
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it tap taped off television and then I know we owned the VHS and so,
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but I think that's probably like we probably taped it off a television then
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bought the VHS as soon as it came out, and I just watched it
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on loop. Like I've seen this movie so many times, and it wasn't
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until I got older that I looked it up and realized that it was a
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flop. And I'm like, why why didn't people adore this the way that
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I do? Like, I think this was the first time I remember getting
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angry at people at the public for not appreciating a movie like I did.
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And I do believe that that was the first instance that started the internet troll
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phase of everyone else whereabout how if you don't like a movie, then you're
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stupid. You know, it's I love that you you talk about how it's
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shocking when you find out that this movie was a flop this way. And
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this came out at a period where Disney was having a lot of trouble.
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They were trying to find a direction. They were trying to stay committed to
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their their whole concept of being original entertainment. But at the same time,
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the landscape is changed from underneath them. It's it's now a post Star Wars
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world, and there's this, and Spielberg has come up, and so Disney
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is not the only family friendly movie maker out there, and they're they're they're
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flailing in a sense at this point in time, they're trying to figure out
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what to do. And I think that this is one of those things where
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like the Black Hole, like you know, the Black Cauldron, which would
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that that's a whole tragic story in and of itself, but it comes out
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in this time period where Disney is just trying to figure it out, and
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I think as a result, they didn't know how to market it, they
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didn't know how to get to people. And I think that this is one
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of those one of those movies where it's saved by the home video market.
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But I love you talking about it because it all Whenever I hear Tron,
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I always think of the Simpson tree House of Horror where Homer gets sucked into
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the three D world and he says, have any of you seen Tron?
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No? No, no, no, no, yes, I mean no.
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And it was just one of those things where it's a perfect joke because
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everybody who has seen Tron has encountered that moment where it's like, hey,
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have you ever seen Tron? And nobody else in the room has seen it?
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And you're like, oh, never mind, then I mean no,
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yeah, no, it's And so you have this story where I think as
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a brilliant act probably for cost savings, but just I love the fact that
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you have the same actors play the users as well as their programs, and
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which I honestly feel young Darren, it probably took a while for me to
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realize that because even though Tron is you know, is Bruce, he looks
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very different in the real world, like he's got glasses on on, he's
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got hair, and so I think it actually took me a couple of viewings
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before I made the direct connection that it was the same actor playing it,
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because yes, obviously not Clue, but or even with Clue, I think
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it always it took me like a second pass to realize that, because they
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do look so different without hair, especially and wearing the Tron program jumpsuits.
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That yes, obviously, looking back on it, it's obvious that they are
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the same people. But I think it's a fun way of connecting to you
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know, who's writing it, who's running it, because otherwise it starts to
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get even more convoluted. You're you're describing these high brow electronic type scenarios that
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you know, people don't really think about. How how does a computer work?
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Is it really like a tiny town in there? Like your average person
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isn't thinking these thoughts. You have to kind of keep it simple. But
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what what did you think, Tristan of the duality of the role. I
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loved it. I absolutely loved it because there's so many times that you I
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mean to today of course, um where you know, people put their heart
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and souls into things that they make and things and programming things are no different
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and so the idea that something like if you made a program, you know,
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it has a piece of you in it and it looks like you.
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I think it just absolutely makes sense and it's it's it's definitely a cost saving
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measure, but also at the same time, it just it helps the audience
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where when you you know, like when you see Tron and for those of
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us who did recognize Bruce box Liner, when you when you see Tron,
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you're just like, oh, wait, that's Tron, that that has to
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be Tron, Like even though he's pointed out and he's like, oh yeah,
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like Ram says, you know, like that's Tron and whatnot, whatnot,
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he does have a t on his chest. That helps a lot.
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So that helps. That helps a great deal. But am but when we
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when we see Clue, um, it makes sense. And it always felt
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weird to me because when we first hear Clue, it's it's very like affirmative,
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yes, let me at him, you know, like it's very robotic.
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But then all of a sudden it kind of transitions into much more Jeff
11:24
Bridges and I lose it, even though I've seen it dozens of times,
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I lose it and laugh. So hard. Every single time Clue screams his
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head off, it's about to crash. Yeah, it's so genuine and so
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it's so hilarious that it just makes me when I'm running a computer and I
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opened like the task Master and it's showing like my impact of my CPU,
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and I see it jar up into the nineties of like, that's the computer
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program screaming like Kevin Flynn. Because it's really upset right now. I think
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with general audiences though, that okay, there's definitely a Wizard of Oz aspect
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to the duel casting. I think, you know, naturally that makes it
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work really well. But I think that, um, I think that it
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does or did potentially cause a problem for some members of the audience because the
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name of the movie is Tron, but Kevin Flynn and Clue are your main
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characters, and so I think that would also have created some sort of a
12:28
disconnect for people. It would have been challenging for them because that's just how
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we're wired. We're we're wired to have you know, the name of whoever's
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in the title bee. It's the same thing that storms people off with the
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last Samurai. It's like, it's not about Tom cruise. Okay, he's
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yes, he's the main character, but the last Samurai's ken want. Okay,
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that's just the legend of Zelda. I mean, how many times do
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people thinks is Zelda because why would he not be Zelda? And yeah,
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right, Zelda's legends. Yeah, yeah, But I do think that that
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is one of the things about the fantasy aspect, about taking it into that
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Wizard of Oz sort of thing is really interesting. But I think that another
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challenge for the audience, especially the children in the audience, is what a
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parable for adult career pathing this movie is? Yeah, yeah, like that
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is I think. I honestly think probably my dad, probably other dads who
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watched this movie in eighty two, they are right at that age where they
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realize they're trapped in the machine, and it's very invigorating to say, oh,
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wait, no, we could have individuality in this giant, you know
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machine that's all set up. But additionally, I think this movie is just
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a couple of years too early, because two years later you have the famous
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nineteen eighty four ad with Mac and all of a sudden, the personal computer
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revolution happens. If this had been released in eighty four, I think this
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movie becomes a hit. I think you're right. Yeah, it was interesting
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with um Dillinger again another for young Darren, like recognizing that David Warner played
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both roles, because they do look very different if it's literally just the face
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and one is like a charcoal gray. But it was really I don't know
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if it was intentional, but it made me think of Ready Player one and
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the and the key villain in that has a very Dillinger haircut and look like
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it kind of feels like they're almost homaging that, like the big bad corporate
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guy. It's like they got one look and it's that look. It's yeah,
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and whether it's Endcom or IOI obviously you know one game before the other,
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but yeah, I still want a giant touch computer. Guys, that's
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literally my desk with keys that you know, light up and I wanted to
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talk to me like a spinoff of Hal nine thousand and threatened me with the
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Kremlin, like that's gonna be so fun. I like when we when I
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watched this in preparation for this podcast, Um, I was actually thinking,
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I was just like, it's like, man, this was made in nineteen
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eighty two. Obviously the computer desk isn't real. But this was made in
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nineteen eighty two. We're in twenty twenty three. Why don't we have this?
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What are we doing wrong? Like there's so much that anomicists came through,
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and we're like, you know, you don't want to be staring at
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your literal desk all day. It will kill your back, That is true.
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Okay, give me a keyboard and how quick like in there and then
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like elevate the screen just a little bit, like give me that, give
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me that, give me plexiglass, give give me star trek. Basically,
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well again, a touchscreen. That's basically it's like an iPad desk is what
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it is. But that backlit black. You know, color on black has
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always been a very cool design, very much so. And I think that
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speaking of design, one of the things that's so interesting about this movie is
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everybody loves to talk about you know, movies later or being oh, look
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they're doing them in front of green screen and they're in a blue box and
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stuff like that. This really is that pioneer of a movie where everything that's
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going on in there is occasionally cardboard, but a whole lot of it is
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just you know, drawn in or animated and stuff like that, and you
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have a bunch of people running around in these little pseudo environments and so when
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you compare it's going to be added later. It's one of those things where
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it really is such a vision of the future, and you don't I don't
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think that people understand or appreciate because I Lisberger is a director, and I
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get you know, what we'll get to him and everything. I've never seen
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anything else that he's done, at least not wittingly, and he doesn't have
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a terribly long filmography. But I have to imagine how challenging it is for
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a director in nineteen eighty two to come in and have basically a bunch of
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nothing too very little to work with and say, oh, well, this
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will all be added in post and that this will be there a theater the
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mind, like you gotta imagine it well. And it makes me think of
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now nowadays. Just last year we had Avatar The Way of Water, which
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is kind of the full circle of this technology where you have a performance capture
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in real space, but it's using cameras that are artificial because they're recording in
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three dimensions. The computer version of like it's basically the exact same thing,
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just the technology to its lawgical conclusion, you know, decades later. Well,
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we'll just we'll give Cameron another twenty years so that he can figure out
18:06
how to digitize the actors and put them in there. Just like Kevin Flynn,
18:10
that's really the next step. I wouldn't put it past him. I
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literally wouldn't developed um speaking about like you know, like influences on people and
18:21
how this wasn't appreciated at his time. One thing that just last week,
18:25
Like I saw the movie Babylon and that came out just last year at the
18:30
end of last year, and at the very end of the movie, they
18:32
have a very it's a very much a love letter to cinema, and they
18:37
have a montage at the end of key cinematic moments that kind of altered history
18:45
the like the story, the artistry, the technological aspect of it, the
18:49
argonauts, you know, like yeah, stuff like that, like even like
18:53
the Moonshot, you know, like the you know, like the the winking
18:56
moon with the rocket in his face, everything like that, like the the
19:02
plated glass that was that was colored with the dancing pixies and everything like that.
19:06
But they had a shot of the light bikes, yes, in there,
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and and that was just before the first avatar, you know, like
19:14
and so it's I was so ecstatic that that was in there. Now,
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obviously the person, the people, this was made by filmmakers, The movie
19:22
is made by filmmakers, and filmmakers understand how Tron changed everything and changed so
19:29
much and how pivotal it was, even though it wasn't appreciated at a time,
19:32
it was pivotal in in cinema. And I'm so glad that that was
19:36
seen in a modern movie. And because in the same year eighty two you
19:41
also had, like we sated before Star Trek two, which had computer effects
19:47
for the first time as well with the you know some of the on screen
19:51
shots like the computer or not not the computer, but the Enterprise's main viewscreen
19:56
and you know, describing the simulations, the Genesis effect on the planet,
20:02
you know, that whole composition. But I think in a way, Tron
20:07
is almost more impressive because it is merging live action and which I mean that's
20:14
Disney's bread and butter. They've been doing it since Mary Poppins, and like
20:18
they if any company is going to handle that, it's going to be Disney.
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Well, what's what's crazy to me, And something that I didn't realize
20:26
when I was younger is that there's no CG and live action that's true in
20:30
the same shot. And it's just amazing how how well they tricked your brain
20:38
into thinking how integrated everything else is or was, you know, because whenever
20:44
you see a person, a live action person, it's it's an animated background,
20:48
as in like hand drawn, right, and it's not and it's you
20:53
know, like you said, like with Mary Poppins, it's that kind of
20:56
it's it's it's that kind of integration. And like so many people were like
21:00
me, didn't, just didn't. Your brain got tricked. And and then
21:03
when you read about the lengths that they went to to get the glow on
21:07
their suits, it's insanity. It's insanity. It does not sound fun.
21:12
How they composited it's sometimes sixteen to twenty four layers of film and then shone
21:19
a light through a gel as the film was running to get that unique effect.
21:26
That's just crazy town. Well, I think that's also why the light
21:30
cycle of all the CG moments really stand out, is because it is the
21:33
closest to having like they again they're tricking you. But there's those few shots
21:41
where they're inside the light cycle and you see it, and again that's obviously
21:45
a very tight close up shot and not CG animated. It's like traditionally animated
21:52
over them inside the cockpit, but you see the lighter on the wind.
21:56
Yeah, but it's inner cut so perfectly that you would almost believe like,
22:00
oh no, that was CG. Around It's like, no, remember not,
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there's no shots of both at the same time. So so let me
22:07
ask this question because I think it, you know, look at the work
22:10
of directors sort of thing. Lizberger. Obviously, like I said, it's
22:14
not a name that people really toss around. They might talk about Tron,
22:17
but they don't talk about the director. Is this simply something where Disney manages
22:25
to get a director, I honestly don't. I'm asking the question because I
22:27
looked around. I don't quite know. Is this just they needed somebody that
22:30
could just turn the camera on and film people or was this really a visionary
22:34
thing and he just doesn't get enough name credit. This Tron was his baby.
22:41
He shopped this around and it was develop the technology, the look.
22:45
Put a lot of time and money into the R and D, and it
22:49
didn't go quite as far as it needed to. But then yeah, Disney
22:53
was like, Okay, let's make this a pictures put the actual money behind
22:56
it that it needs to come together. So it isn't simply finding the director.
23:02
It was the director finding Disney. But was it? Is this a
23:07
case of because the movie bombs, that's why his name is sort of just
23:12
lost to the mists of time, is what I'm saying, Like you would
23:17
think even if the movie bombs, if he's if he's a great director,
23:22
the work experience would have been such that that his name at least would have
23:26
opened some doors for him where people would say, hey, yeah, a
23:29
tough break, kid, but you got some you got some chops, come
23:32
on board? Or is he is it? Is it that the production was
23:36
so difficult? Is it that he's a victim of the tumult at Disney and
23:40
there was nobody left a vouch for him? After Eisner comes in and clean's
23:44
house, that that probably is it? Right? There? Is that Eisner
23:48
sees his name on a list with a negative number attached to it, and
23:53
then and then that's it because it's not until the really negative number though,
24:00
like I know we and I agree like it didn't do very well, but
24:03
like it maybe it's a case again of like overspending on marketing. But I
24:08
look at the the budget for it and the you know, the budget is
24:15
listed at I think it was like twelve million, and it made like fifty
24:22
so it made money. It didn't, but I think they were thinking it
24:26
was going to be like in the hundreds of millions. So it's it feels
24:30
like it would it underperformed for their expectations. I don't feel like it flopped,
24:36
but at least on a dollar for dollar amount, I think. I
24:40
think that's a that's an important distinction. I think that there are so many
24:42
pre production costs, like it's sort of like Superman Returns technically is a bomb,
24:48
but it's because they wrapped up all of the different development costs in it
24:52
leading up to its release. And I think they pulled the same sort of
24:56
shenanigans with like Tron legacy and stuff like that. Where's that Hollywood counting shell
25:00
game that goes on? And so yeah, there's there's no way even in
25:04
eighty two that twelve million was the only number associated with try right, Like
25:10
they're like like John like you said, like the pre production cost the development
25:14
costs, because a lot of this was happening before they were ever actually shooting,
25:18
and like sometimes pre production costs get a little muddled, and like sometimes,
25:23
um they're like sometimes you a company can have a pre production pool.
25:30
They're like, this is how much money we have to pre produce movies for
25:33
the year, and all the money some gets the lion share some doesn't you
25:38
know it. I'm not saying that this is across the board. I'm just
25:41
saying sometimes that did happen, especially back then. Um, so it's it's
25:45
so hard, like Hollywood accounting is just it's just absolutely yeah. And I
25:52
could also again see it as it's all optics. It's like, oh,
25:56
we thought this movie was going to cost ten, and it costs seven ten
26:00
and we thought it was going to make a hundred and it made fifty.
26:03
So again on one side of the column, you're like, well, it
26:07
costs seventeen, it made fifty, that's good. But if you thought it
26:10
was going to cost ten and make and make a hundred, that's bad.
26:14
It's yeah, it's all Hollywood accounting. But you know, hey, if
26:18
the MCP hadn't absorbed that accounting program, and it could have just been left
26:22
to do its job, then we wouldn't have had that problem. It's one
26:26
thing that I didn't Another thing that I didn't realize as a kid that I
26:30
didn't really rep my head around is when the MCP starts talking about attacking the
26:37
Pentagon and the Kremlin. Yeah, and he's going to do it again some
26:40
wargame stuff. Yeah. Yeah. I mean, if it wasn't for Kevin
26:45
Flynn and Tron and Clue and everything like that, that's a good point.
26:49
We could have had World War Three. No, I think that I think
26:53
that Master Control viewed itself as ensuring that World War Three wouldn't happen because he
26:59
would he could run it better. Well, it would be able to threaten
27:03
all of us into subjugation sort of thing. Okay, because since it's a
27:07
Disney film, I don't think we're going full Skynet here. I think it's
27:11
a hostile situation as opposed to just wiping everybody out, and that even in
27:15
and of itself, Tron and the Term and the original Terminator they're sort of,
27:21
you know, blood brothers in terms of the angst that is starting to
27:25
happen because the computer revolution is just starting, and I think very much reflected
27:30
in this and as well as in The Terminator obviously with you know, with
27:34
acknowledgement of the works of Harlan Ellison. Want to make sure I say that,
27:37
and you know you have that sort of angst that's really getting ramped up
27:44
because people are becoming aware of computers, they still don't understand them. The
27:48
this movie doesn't exactly help people understand computers. I'm not in a fantasy way.
27:56
Yeah, but uh, this is this kind of feels like, you
27:59
know, my grand father being like, wait, so there aren't little men
28:03
inside the computer. It's like no, no grandpathers. But but but at
28:06
the same time, at the same time, with the digitizing of you know,
28:11
the Orange and Kevin Flynn himself and everything like that, you also see
28:15
reflected our outsized expectations of things that would happen. It's just like what's going
28:18
on now where people are like chat GPT is a Now it's a language prediction
28:22
model. Okay, Like the thing's not actually thinking it's that you. That's
28:27
that's not how it's working. But it's so much easier to say AI.
28:32
And people were like, yeah, that's scary. Well, speaking of names,
28:34
I'm kind of glad that this was the era that programs were called programs,
28:37
because can you imagine this movie made if everything was called an app?
28:42
That's what it's called now. I remember when apps were applications and then Apple
28:48
was like, no, that's too long, We're gonna call them apps.
28:51
And now everything is an app and yes, yeah, I know nobody wants
28:55
that. Uh well, let's talk some of the some of the characters.
28:57
So we have Jeff Bridges, the dude, Kevin Flynn himself, who apparently
29:04
just needs to find a memory and he can become a millionaire. I guess
29:11
that's just that's the that's what I took away from the plot, but by
29:15
movie logic logic, because apparently can't delete it, like that is it possible?
29:22
It's somewhere in the system deleting doesn't happen. Even print out. You
29:26
can't fake a print out. Apparently in the novel, like there was way
29:34
more information like on the like it was like they in IP addresses and and
29:41
everything like that, like that was actual. It's just basically printing out.
29:45
Kevin Flynn did it. It's his He's give him money. Oh well,
29:49
the said, so it's go take that to the bank. But that's what
29:55
I was talking about, like with with movie logic, is that all of
29:56
a sudden he's the executive VP. Yeah, like like like like, I'm
30:02
sure the board is like, well, the MCP told us, uh that
30:06
you're the new board member. He's like, no, like you you defeated
30:10
the bad guy who had this position, so now there can be only one
30:14
and so you assume his power. Jeez. Well right, that's that's how
30:18
the corporate structure works, according to television. Listen, that's not just tron.
30:23
Isn't that happened? What happened with Bob Jpeck. It's the exact same
30:26
thing. The MCP booted him out and Bob came back. Now I'm just
30:30
kidding out now. I just want to say I did like Bob japex hairstyle.
30:33
I did like it better than Iger's hairstyle. But you know he was,
30:38
Yeah, that's because that's a hor hairstyle. John, Yes, that's
30:42
true. That's exactly what I was. Yes, exactly true. But I
30:47
think that. But what do you guys think of of Jeff Bridges though?
30:49
Like, is he is he a good everyman? Is he a good lens
30:55
that we see this world through, because that's really his role, like he's
31:00
the man out of water when he's in the computer program. Yeah it works,
31:07
Yeah, go ahead, John, Yeah, I think we're going to
31:10
agree it works. It works reasonably well. You need your your outside character
31:15
that you can introduce the world too. And there's a reason he doesn't understand
31:19
everything that's going on, so we need him there so that we can start.
31:25
They can explain it to us without making it sound clunky and weird,
31:29
and so I think as a character it's effective. I think that the the
31:36
challenge that doesn't quite get you know, get met is introducing him his Clue
31:47
and as Kevin Flynn early and then having him be Kevin Flynn and then become
31:52
Clue. I think that gets a little muddled in terms of structure and balance
31:56
between the characters. And I could understand. I think as a kid,
32:00
I didn't really get that Clue wasn't him when he crashed into the wall,
32:07
Like it was very confusing as a kid, where it's like, wait,
32:08
didn't he die earlier? So I think maybe that could have been handled better.
32:13
But I think overall, once the story finds its footing. Then,
32:15
yeah, I think it works. It works reasonably. And the Clue stuff
32:19
was produced earlier on when because initially all of the good guys were supposed to
32:24
be yellow and the bad guys are supposed to be blue, and then they
32:28
flipped it, so that's why Clue is yellow and even though all the bad
32:32
guys are red, which works out great for legacy because he kind of goes
32:37
that way and spoilers. And also like in the trailer that they made in
32:44
the original trailer of the MCP is blue. That's right, it is blue,
32:47
and that always threw me whenever I watched whenever I saw it. But
32:52
yeah, but like for me to answer your question, Darren, I think
32:57
I loved the levity at Bridges brings because he's like on a trip. He's
33:02
just on a what is going on? Here? We go? Because this
33:07
movie could have been in danger of taking itself way too seriously if it wasn't
33:13
for Jeff Bridges, because Bruce box Lightner and Cindy Morgan are great, but
33:17
they have to be they have to be the straight man. They have to
33:21
be the straight man. They're the professionals. Their jobs are on the line,
33:24
and so they're taking this seriously. They're helping out a friend and m
33:30
Flynn is the boy who never really grew up, you know, he's he's
33:34
he's the child who wants to stay a child and just have fun and play
33:37
video games. But he also wants what's his And I think this is exemplified
33:43
when they're when him and um, oh, what's what's Cindy Morgan's character's name
33:49
in the real world? I can never remember, But when when they're going
33:52
through the data center and he's just like he's like doing that bugs bunny,
33:57
you know, like walk and then he hides behind one of the one of
34:00
the modules and then gets behind her and scares her, like there was no
34:06
reason for him to do that. That didn't advance the plot, but Laura,
34:08
Laura, Laura, thank you, but it gave great a character builder
34:12
a moment. Yeah, they're sneaking in life a death situation or not lamed
34:19
it, but like, yeah, he's like playing hide and seek. He's
34:22
flirting with her, is what he's doing, and it's it's it's great.
34:25
And then that translates into the grid and when he says stuff like hooray for
34:30
our side. Yes, yeah, that's true. Yeah, no, he
34:36
Yeah, I think you totally nailed at Tristan where he brings that levity.
34:42
And that's important too, because if he if he went full on like the
34:50
nerd fanboy from Galaxy Quests level of like I'm in the computer, so that
34:55
means this is a transistor and this is you know, meaning like he's talking
35:00
high tech the entire time. I don't think it would have worked. Did
35:05
that example not makes sense? No, the example makes sense. I get
35:09
what you're saying. If he if he had been too enamored of the world
35:14
he finds himself in. Yes, I agree, it totally doesn't It totally
35:19
doesn't work. He needs to be that sort of childish, exuberant being that
35:23
that is just still speaking at a common man level. He's not like an
35:28
ace programmer and he's you know, then we get the movie like Hackers,
35:31
and it's like no, but I think, also, what what what I
35:37
think? I think what what you're hitting on as well, Darren, is
35:40
that I think you you move it forward to when people have a little bit
35:44
more of a footing and a little a little bit less fantasy about how computers
35:47
work, You're going to have less of a Flynn The magician inside the computer
35:53
realm and more of a I know what to do and have like you know,
35:58
fake coding like in uh, Swordfish or something like that, where he's
36:02
like, yeah, I know how to code this thing just right, and
36:06
he's had a fake terminal and all of those sorts of things. System just
36:09
thinks park and I'm like that was oh man. It's like, well,
36:15
it's a it's a it's a graphical user interface, is is what it is.
36:20
But sure, okay, yeah, it's an interactive CD. Yeah,
36:25
but I do I think I think that if Flynn had gone down that more,
36:30
you know, indulged more of the he's a programmer, programmer type of
36:35
guy, thrilled about where he is. I think you also have that impulse
36:38
to turn him into typing code on screen in the computer universe to change stuff
36:44
around. He's like, oh, as a user, I have this magical
36:46
ability to pull up a keyboard anywhere and alter the environment like that could have
36:51
easily gone sideways if they overuse it. But no, Instead, he does
36:57
have power, but he doesn't realize it. Like he can reactivate the recognizer
37:00
and he can bring programs back online if he's near him, and he can
37:05
divert the energy beam like, yes, we've established no programs can do that.
37:09
So only because he's a user program can you do that? But yeah,
37:15
well, and I also think that one of the one of the best
37:16
bits, one of the most memorable bits in the entire movie is with the
37:21
bit yes no that bridges brings the necessary energy for that moment to work.
37:29
You need somebody that is doing what he's doing for that to be a cute,
37:32
comical sort of thing. And again it's a very classic Disney humor sort
37:37
of moment going on there. And so I think that his characterization of bobow
37:42
we need a plush toy of some kind, just make a bit Okay,
37:46
yes, yeah, exactly. Well what's let's go on to to Bruce buck
37:52
Slightner. I mean, gosh, you talk about it's so funny, you
37:58
talk about like the straight man, but he commits to this role in a
38:04
way that like nobody else does. And I mean we'll again see his return
38:08
in Tron Legacy. I love the Little Easter Egg obviously after the fact,
38:15
but the fact that both Bruce and Peter Jurassic are in this movie as they
38:21
fight each other in the disc Wars, so Peter Drassik, also known as
38:27
his role from Babylon Fives. He have two Babylon five characters or actors playing
38:32
against each other. But yeah, man, he when I need someone who
38:37
commits to a role, I think of this because he is just he is
38:42
Tron. He is Tron when he's outside the computer, he is always Tron.
38:49
But John, what did you think of Bruce's performance? I mean,
38:52
box Lightner is I mean, I'm looking it up on IMDb right now,
38:59
but he has something like one hundred thirty two acting credits at this point in
39:02
his career by twenty twenty three. Would I expect anything less from somebody that
39:08
is he's a pro. He knows how to show up, hit his mark
39:12
and give the director what he's asking for. Yeah, and it's so he
39:15
walks on. And I think it's a terrific attribute to the film because you're
39:20
talking about, well, he's playing this character. He's very clearly divined.
39:22
If Tron doesn't work, the name is the title of the movie. If
39:27
Tron doesn't work, the movie doesn't work. Kevin Flynn is allowed to be
39:30
care free and silly because Ron is not. Because Bruce box Lightner anchors him.
39:37
And gives the sense of stakes and importance to you know, everything that's
39:42
going on around them. Love the love that you gave Box Lightner, because
39:47
I always feel like outside of the industry he's unappreciated, but within the industry
39:55
he is because he is exactly that person that you described shows up, he
40:00
knows his lines, hits his mark, gives that charisma that's needed, goes
40:04
home. And he's not a movie star. He's not. He's not a
40:08
TV star like he's he's not a megastar. But in the genre realm,
40:15
we all know him, we all love him, and he gets tons of
40:16
work all the time, so he must have a fantastic reputation. And it's
40:22
and be good to work with and be good to exactly and be good to
40:25
work with and and so when when he when he shows up in this like
40:30
I thought he did a great job as in the real world and on the
40:35
grid, and I felt like it was different enough but not completely polar opposites
40:40
where like you still I'm a nerd in real life, but in the computer
40:45
I'm the suave straw that everybody loves. Like no, not not quite no,
40:51
like this like he Yeah, it wasn't polar opposites, and it absolutely
40:54
worked. And it was even it's not called Kevin. The movie's not called
41:00
Flynn, you know, it's it's it's called Tron. And you need someone
41:04
who is that hero esque protagonists, where like Flynn is the hero and in
41:09
the protagonist of our story, Tron is kind of the archetype. Yeah,
41:15
no, you're right. And I also, you know, a bit on
41:19
the directing again, and this is maybe more just the story, but I
41:22
like the fact that once we go in the computer, we're in the computer.
41:28
We don't leave it until he comes out at the end. Files are
41:31
in the computer. But but that I would feel like nowadays it would be
41:38
so easy to be like, we want to tell a dual story and we're
41:43
inter cutting inside outside and it works so well from that from the moment we're
41:50
in, we're plugged in, we stay there the entire time until and even
41:54
when Tron talks to his user, we just hear him, like we don't.
41:59
We don't see him. We're not at his desk, we're not at
42:01
his cubicle. We just we just hear his voice. It's great, it's
42:06
great, and it also because it kind of helps me remember that this is
42:10
a program. This is a digital world. So the again, the moment
42:15
that that Flynn gets digitized, the entire span of that part of the movie
42:22
inside the computer probably took ten seconds a minute like it. It didn't take
42:28
the days or the hours. It felt like time passed. So when they're
42:32
all like, oh, I gotta get to that io tower to you know,
42:37
to communicate with my user, I'm picturing in the real world, you
42:39
know, you know, Alan's like about to hit the ner key, like
42:45
you know, because like that's how it's moving. It's it's different time scales.
42:50
If Christopher Nolan did this movie, you have an entire subplot of just
42:54
Alan going to hit the enter key. That would just be going through the
42:58
entire film. He's in my pass work. Yeah yeah, well one minute
43:09
millisecond inside I I. But the thing is, while we're talking about,
43:15
you know, the actors, um, you know, it is really worth
43:20
pointing out that Cindy Morgan who plays um uh Laura Jory in here, um,
43:29
she was in Caddyshack as Lacy Underall before this, and it in a
43:36
sense, it's one of those things where I think that it's a testament to
43:42
how versatile actors and actresses need to be that she can go from this zany
43:49
comedy movie that is, you know, it is a you know, an
43:53
absolute farce of a movie. It's crazy, it's all over the board,
44:00
everybody's playing caricatures. And then she actually has a pretty rooted role here and
44:07
it's you know, it's two years later, like it's the same actress,
44:09
Like she just turns it on turns it off sort of thing. And I
44:13
think that, unfortunately, because Tron is one of those things where yes,
44:19
it gets respect from some people, but not hasn't been seen by a ton
44:22
of other people, considered to flop all that sort of thing, I think
44:25
that she gets overlooked a lot of times because she is there, she is
44:30
important, and she is you know, key to the plot. Is she
44:32
the most important character? I'm sure that if they were to remake the movie
44:36
today, probably there would be a little bit more balance given to the characters
44:40
and stuff like that. But I mean it'd be more of the trio,
44:44
whereas we got more of the trio with rom or was it ram Rams?
44:51
I always up, yeah, muh, but yeah, it's I mean the
45:00
that's another interesting part of this whole story is the love triangle esque, like
45:07
the fact that our hero isn't the guy that's connected with the girl, but
45:12
he's kind of still pursuing her, but he's she's obviously with Alan, like
45:16
it's it's kind of and they had a previous relationship, Like it's it's an
45:20
odd choice. I don't really know what to make of it. It was
45:24
also weird in The Grid deals. Yes, she's like, it's like nice
45:30
software. Basically it's basically saying and then trans gets in front of him like
45:36
don't you say that about my girl? Like all that's implied, and I'm
45:38
like, what's happening right now? And then they kiss at the end,
45:43
and it's like a super it's this isn't like a friendship kiss or a good
45:46
luck kiss. This is that was a very romantic kiss. And then he's
45:52
gone and she's gonna go back. It was weird, Like I understood it
45:57
in the real world, I got it, but in The Grid it was
46:00
just ten times more confusing. It was clunky, and I think that I
46:05
think that that if there's anything that hand strings this movie and makes it difficult
46:09
for audiences. Aside from some of the stuff we talked about earlier, it
46:14
is that fact that that is one of those things where it feels like it
46:19
needs a bit more refinement and there's too much concern with making the That's that
46:25
eternal balance with a movie like this. You're you've got to be concerned with
46:29
making the technology work and making the visuals work, but you also have to
46:31
be concerned with making that aspect of the story work sufficiently. And you can
46:37
gloss over it one way. There are ways to make this work with the
46:42
right balance of certain things as it stands, but I don't think it ever
46:46
hits that necessary state. I think, Darren, what you're talking about,
46:51
where you know Ram becomes part of the trio. I think it actually winds
46:54
up being a more cohesive and accessible story if she is with them the whole
47:01
time and we have that sort of Han Luke and Leia original Star Wars love
47:07
triangle, you know, push and pull happening, where you see a female
47:14
lead who you know finds merit in both the male leads, but which one
47:22
you know has the spark if you will, that sort of thing. Yeah,
47:27
I do feel that when Yuri showed up, it felt it felt a
47:31
little forced, like I get, I get why she's there, but the
47:37
place she shows up with the Solar Sailor, it kind of felt like,
47:42
oh yeah, well we need a program here, let's make it her and
47:45
played by this act like it didn't necessarily feel connected with the way the story
47:51
was going. I mean, like Dumont make sense because he's the guardian program
47:55
written by by doctor Gibbs. I don't know, it felt. I always
48:01
felt a little bit like Urie was just kind of tacked on in her piece
48:07
in the Greater Adventure inside the Computer. Well, let me go ahead and
48:10
ask this. I mean, this movie is barely over an hour and a
48:13
half. Is this a movie where you think they could have should have given
48:21
it another ten minutes? Or do you think that running time wasn't going to
48:25
do anything to improve this? This was just something where if with this draft
48:30
of the script, if you added ten minutes, it would actually just become
48:35
a little bit unbearable. Or you know, is there anything where more screen
48:40
time helps this film? It's hard to say. I feel like it's almost
48:46
a non starter because this type of production, like, oh, just adding
48:52
ten minutes of in computer footage, like that's months of work. So what
48:58
I'm saying is I think and if they had wanted to flesh, you know,
49:02
flesh more of that relationship out or change part of it, you're probably
49:07
so locked into the story and the storyboards and the progression because you're producing all
49:13
these effects at the same time. So I don't think, and again this
49:19
is just kind of a gut feel, but I don't think they had very
49:22
much flexibility at all on this production. It probably had to be because they're
49:27
pushing so many boundaries to get it made. Now that's just an assumption,
49:31
but that's how it feels. Well. I mean, I will also say,
49:37
though, because of the tumult at Disney, I have no idea whether
49:42
this would have applied here, but I know that, for instance, with
49:44
Black Cauldron, they actually had stuff cut out after the final cut because they
49:50
came in and they said, look, we're just going to cut the time
49:52
down, and so there are actually some transitions where they're lost to time where
49:57
there was more finished film and then the brass said no, no, no,
50:02
cut ten minutes out and they just pulled it out and walked away sort
50:05
of thing. I have no idea if that's that's anything to happen here.
50:07
I guess maybe I need to read more of the making. There was also
50:12
the Director's Guild of America had a strike during production, which you know always
50:16
makes it easier to produce something. What are your thoughts justin there was a
50:23
deleted scene that had more Urie in it, but it was really weird and
50:30
awkward. It would have made it even worse because they tried to cement the
50:36
relationship between Tron and her even more and she like changed outfits and then became
50:42
like a butterfly thing. It was. I could be misremembering it, but
50:49
I remember like it's probably on YouTube, but it was frigg and weird.
50:53
So to answer your question, John, I don't think ten minutes would have
50:57
fixed it, because I think this movie is a tight ninety minutes. There
51:01
is a few points when I'm like, okay, our momentum has ground to
51:07
a halt. Yes, And so I don't think adding time would have fixed
51:12
that. Basically, Urie should have been Ram. I think that's the only
51:16
way to really flesh out the character is not ad time, but just replace
51:20
Ram. And I mean, I think Ram is a thankless role that it
51:24
was done really well by that actor. But in the grand scheme of things,
51:29
I think in order to get that dynamic of two men and one woman
51:34
that works really well in film, like in John Usided examples, and also
51:37
to kind of mirror the real world a little bit more. It should have
51:43
been Uri. Wait, so you're saying it should have been Ram or should
51:46
have been Uri Uri? Like? No, like Rams character should have been
51:52
Yuri. Got it? Got it? Yeah? I mean I could almost
51:55
go the other way because Ram was the true believer of the users, like,
52:00
and they kind of explore that a little bit. But I think that
52:04
would have been interesting to see more of. But I agree for to have
52:08
that be the trio in the real world and then it doesn't end up the
52:12
trio until like three quarters through. The digital adventure doesn't work as well.
52:20
And again maybe that's why I said it feels weird that she all of a
52:22
sudden, Oh yeah, we're at the Solar Saler and she's the program okay,
52:28
Like she should have been in there sooner. Also, one thing,
52:31
one thing that bothers me to this day, from the first time I saw
52:35
it, or around the first time I saw it whenever I was young to
52:38
today, Why the friggin hill do we have gridbugs? I was just thinking
52:45
this, No, I was just thinking this, it's because somebody made that
52:49
shot and spent so much time and money on it. They were like,
52:52
well, we have to keep it because otherwise we've literally thrown away this time
52:57
and money. It's totally what it feels. It's like because it's like,
53:00
hey, watch out, if we fall down, those grid bugs will get
53:05
us. It's such a why is I totally agree, it's like why is
53:08
this in here? I would throw out there that the only reason they exist
53:13
is because somebody heard that computers had bugs and they said, yeah, bugs,
53:17
that's what we got to have at this part. Well, and it's
53:21
it's traditionally animated though those aren't CG. I'm pretty sure they're not CG characters,
53:25
so I'm pretty sure it's traditional two D. Maybe maybe they needed an
53:30
extra twenty seconds of runtime to make something balance and they kept it in IDA.
53:36
I totally agree with you, though, Tris, and it feels why
53:38
is this still? I honestly it's got to be money and sunk costs where
53:43
people were like, well, we can't take it out. We spent two
53:45
months animating it for some who knows reason. But uh yeah, yeah,
53:54
all right, Well, as we're rounding third heading towards our Io to hour
54:00
to communicate our ratings out to our users, and of course, as we
54:06
traditionally do, when we wrap up with our ratings, we are allowed to
54:09
share any other things that we have missed or haven't spoken on with this particular
54:14
program. But John, let's start with you. How many Io Towers are
54:22
you're giving Tron from nineteen eighty two. Now, as I love to say,
54:29
regardless of what my Stars rating or my Io Towers rating is, it's
54:34
a five with how much love I have for it. I love this film.
54:38
I rewatch it regularly, not as regularly as other things, but I
54:43
do rewatch it on a fairly regular basis where I just it just has that
54:47
magical pull for me. There are plenty of movies I saw as a kid,
54:51
like Iron Eagle, where I don't watch them ever again because you know,
54:54
I don't want to know all other theme song for that is really great.
54:58
But I think that this is just something where I'll always feel that pull.
55:02
I always have trouble giving it a rating specifically because I have that affection
55:07
for it, and sometimes I feel like I'm going too harsh because I'm trying
55:12
to overcompensate for it, and then sometimes I feel like I'm being too easy
55:15
on it because I don't want to overcompensate. So I'm going to say at
55:20
the end of all of that that after this specific viewing, and this does
55:25
fluctuate over time, I'm going to wind up giving it a four. I
55:30
usually end somewhere either at a three, three and a half, or four,
55:32
depending on how grumpy I am. And I know that's a lot of
55:37
fluctuation, but just recognizing everything that it gives and accomplishes and seeing it for
55:45
that sort of sense of wonder and promise about what computers are going to give
55:49
as opposed to all of the flame wars I went through and the Usenet days
55:52
of the early days of the Internet. I'll go ahead and give it a
55:55
four this time because it gets extra credit for being just so darn charming.
56:02
That's true. Well, Tristan, your decision gate is up and I can
56:06
spare you no more time. What is your rating for this viewing of Tron?
56:14
One thing that I want to mention, like upon this viewing, when
56:17
I watched this, and you guys might laugh at me, the listeners may
56:22
laugh at me, but I feel like if this movie was released today,
56:29
it would do just fine. And I'm talking about kind of retro era kind
56:34
of feel. Yeah, yeah, exactly, like with the same type of
56:37
graphics, same type of music, same type of acting, everything like that.
56:40
I feel like if it just like minor things of course would be changed,
56:45
like the matting would be a little bit better, like you know,
56:47
like the the outlines would be would be a little bit crisper, just things
56:52
like that. But if it was the same art, direction, costuming,
56:54
everything else, I really feel like this would not be a joke. I
57:00
think that this this nails the style and the tone so well for its time.
57:06
It knows what it is and so it doesn't Again this may you may
57:13
think I'm sounding ridiculous here, but this doesn't date itself that well because it
57:17
has such a unique sky, doesn't. Yeah, And like, yes,
57:22
if it was made today, it would look like Tron Legacy, you know,
57:25
like we all know that like it would look it would look more like
57:28
Tron Legacy than it does Tron. But if you wanted to give it a
57:31
retro feel of the Burgin days of computers, this is what you would make
57:36
it look like. And I think the beauty of that is that there is
57:40
no Uncanny Valley. There's no one, there's no CGI in the grid that's
57:50
trying to be life. There's no lawn more Man special effects exactly. That
57:54
is exactly right, Darren, thank you so much for bringing that up.
57:58
There's no lawn more and special effects because that like dates for lawnmower man like
58:02
an anchor around its neck. And the only thing that I think is a
58:07
little that's a little weird and dated is the MCPA. I was thinking the
58:12
MCP phase. Yeah, Like, I think that's the only thing. That's
58:15
the only time that we really see a face with eyes and a mouth and
58:19
everything like that in the grid that's computer animated, And like if it had
58:22
been a wave form that only fluctuated when it talked, like no anthropomorphic at
58:29
all, I think that would have been even better. Absolutely, that's exactly
58:31
what I'm talking about. And I and how rare is that for a special
58:37
effects movie to say, like, oh, this is kind of timeless because
58:40
of the rudimentary graphics that it is and because of the absence of the end
58:46
Kenney Valley, and it's just I'm kind of like John here, where this
58:53
is a five star movie for me when it comes to enjoyment, but it's
58:59
it's almost impossible for me to take off my rose colored glasses because I was
59:02
raised on this movie. My dad loves this movie. I have so many
59:06
fond memories of this movie. But watching it this time, I really tried
59:09
to have a critical eye and look at it outside of myself. And with
59:16
with the pacing issues that we kind of talked about where we didn't really nail
59:21
it specifically, but like with ram in the middle when he dies or when
59:25
like they find the energy water and everything like that, like that just grinds
59:31
the movie to all, like, oh God, Like I think those are
59:35
fun scenes, but at the same time you're like, oh my gosh,
59:37
Okay, you don't have a lot of time to work with, you don't
59:38
have a lot of real estate, and like the grid, the frigging grid
59:44
bugs, the lack of that threes dynamic. Yeah, it's just like I
59:52
think there's there's a certain thing, there's a lot that works, and there's
59:55
some that doesn't. Like when you look at the behind the scenes of it
59:59
and look at the the work that went into it, which we talked about,
1:00:01
like with the compositing and the hand painting. It just is insane.
1:00:06
How much of a love letter this is to sci fi into technology. I
1:00:09
give this four grid bugs out of five because I can't imagine giving it any
1:00:17
less. Like, I know that this movie was not appreciated into time.
1:00:22
It wasn't until the home video market. And one thing I do want to
1:00:25
say is I watched this on the twenty eleven Blu Ray that was the an
1:00:30
anniversary edition. Holy crap, so much love and attention to detail was put
1:00:37
into that transfer. That is a frigging good transfer. It is crisp,
1:00:42
it is clean, it is you can really tell that they shot this on
1:00:45
sixty five millimeter And now obviously it's a lot easier to restore something when you
1:00:49
have a large format, even though it's, you know, from nineteen eighty
1:00:52
two. It's if you haven't seen this on Blu Ray, like watch it
1:00:57
on Blu Ray, or at least watch it on Disney Plus if you can.
1:01:01
Now, Yeah, you know, it makes me think when we were
1:01:04
talking about Dante of the eighties and like Explorers, like there's a huge dose
1:01:09
Now that was a few years later in eighty five, but there's a huge
1:01:14
dose of like nostalgia and just that era that mid early eighties of just trying
1:01:22
new things and a bit of fantasy again, like the technology is there,
1:01:27
but the man pulled into the computer is fantastical, and that's a fun aspect
1:01:32
of the story. I think I agree with everything you guys are saying.
1:01:37
It is a for what it is. I mean, you even said it
1:01:39
Tristan On. It shows up on every pivotal moment of special effect real like
1:01:46
it has to. You can't not count Tron. I'm sure it exists out
1:01:52
there. I want to kind of go look and find someone who has edited
1:01:54
a trailer of Tron using Tron legacy music, because I think that would be
1:02:00
amazing, and I'm sure someone's already done it, but that I think would
1:02:04
be even more hype. Did you see the somebody did that with a Star
1:02:07
Trek the motion picture with Tron legacy music, with Tron legacy music. Oh
1:02:13
okay, and they cut it down it's like minutes. I think it's fifteen
1:02:16
minutes long. So they cut it down just to the core story and they
1:02:20
use Tron legacy music. It's pretty cool. Okay, you got to send
1:02:22
that to us because well, we'll want to watch that. But yeah,
1:02:24
it's just it's such a fun movie, and it it nails world building.
1:02:34
Like we all laud you know, Tron Legacy for what it is, and
1:02:38
Tron Legacy is a great film. But Tron Legacy only exists because Tron created
1:02:45
this amazing adventure and this world inside the computer that fascinated us for a generation,
1:02:53
so that when another group of filmmakers came through and they're like, we
1:02:57
want to make this. And so there's not a lot of movies really that
1:03:05
are that strong in creating such a powerful mythos and but simplified, like I'm
1:03:13
using these grandiose terms, but it's really simple at its core, which is
1:03:16
really fun. And don't put your desk in front of lasers. I think
1:03:22
we learned all that's a very important thing that we learned about this. But
1:03:25
no, I'm I'm staying on the io train, and I'm going to also
1:03:30
give it a four. Not that I don't think it's a five level movie.
1:03:34
It's just it is so solid and fun to enjoy. I can show
1:03:40
it to my kids, like there's nothing nothing bad in this movie. It's
1:03:44
so eighties. Differently, apparently, the only reason why it's rated PG is
1:03:50
because of sarks out of his head. And it was clock parts. It
1:03:55
was colored clock parts, so it's practically g yeah, yeah, no,
1:04:01
it's well. And then you know, Finn yelling in the very beginning is
1:04:05
terrifying, so we all we all know that. But our clue, I
1:04:09
should say, but no, I think it's it's a lot of fun.
1:04:15
I honestly don't remember if I've shown it to my kids. I probably have
1:04:17
once upon a time, but it's I think it's time again for them to
1:04:20
journey into the into the computer. They'll probably never look at their chromebooks the
1:04:26
same way again. But but all right, well, thank you everyone for
1:04:31
joining us in our journey into the computer for Tron from nineteen eighty two.
1:04:39
As we enter the wing of Tron next week, we'll be traveling to twenty
1:04:44
ten with Tron Legacy. Join the Revolution, Join the Nerd Party,