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Tron (stylized as TRON) is a 1982 American science fiction action-adventure film written and directed by Steven Lisberger from a story by Lisberger and Bonnie MacBird. The film stars Jeff Bridges, Bruce Boxleitner, David Warner, Cindy Morgan, and Barnard Hughes. Bridges plays Kevin Flynn, a computer programmer who is transported inside the software world of a mainframe computer where he interacts with programs in his attempt to escape.

The development of Tron began in 1976, when Lisberger became intrigued with the early video game Pong. He and producer Donald Kushner set up an animation studio to develop Tron with the intention of making it an animated film. Indeed, to promote the studio itself, Lisberger and his team created a 30-second animation featuring the first appearance of the title character. Eventually, Lisberger decided to include live-action elements with both backlit and computer animation for the actual feature-length film. Various film studios had rejected the storyboards for the film before Walt Disney Productions agreed to finance and distribute Tron. There, backlit animation was finally combined with the computer animation and live action.

Tron was released on July 9, 1982. The film was a moderate success at the box office, and it received positive reviews from critics who praised the groundbreaking visuals and acting. However, the storyline was criticized at the time for being incoherent. Tron received nominations for Best Costume Design and Best Sound at the 55th Academy Awards and received the Academy Award for Technical Achievement fourteen years later.[citation needed]Tron was not nominated in the Best Visual Effects category.[2] Over time, Tron developed into a cult film and eventually spawned a franchise, which consists of multiple video games, comic books and an animated television series.[3] A sequel titled Tron: Legacy directed by Joseph Kosinski was released on December 17, 2010, with Bridges and Boxleitner reprising their roles, and Lisberger acting as producer, followed by the animated series Tron: Uprising set between the two films. Tron along with The Last Starfighter has the distinction of being one of cinema’s earliest films to use extensive computer-generated imagery (CGI).

Kevin Flynn is a leading software engineer, formerly employed by the computer corporation ENCOM, who now runs a video game arcade and attempts to hack into ENCOM’s mainframe system. However, ENCOM’s Master Control Program (MCP) halts his progress. Within ENCOM, programmer Alan Bradley and his girlfriend, engineer Lora Baines, discover that the MCP has closed off their access to projects. When Alan confronts the senior executive vice president, Ed Dillinger, Dillinger claims that the security measures are an effort to stop outside hacking attempts. However, when Dillinger privately questions the MCP through his computerized desk, he realizes the MCP has expanded into a powerful virtual intelligence and has become power-hungry, illegally appropriating personal, business, and government programs to increase its own capabilities. The MCP blackmails Dillinger with information about his plagiarizing Flynn’s games if he does not comply with its directives.

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Lora deduces that Flynn is the hacker, and she and Alan go to his arcade to warn him. Flynn reveals that he has been trying to locate evidence proving Dillinger’s plagiarism, which launched Dillinger’s rise in the company. Together, the three form a plan to break into ENCOM and unlock Alan’s “Tron” program, a self-governing security measure designed to protect the system and counter the functions of the MCP. Once inside ENCOM, the three split up and Flynn comes into direct conflict with the MCP, communicating with his terminal. Before Flynn can get the information he needs to reveal Dillinger’s acts, the MCP uses an experimental laser to digitize and download Flynn into the ENCOM mainframe cyberspace, where programs are living entities appearing in the likeness of the human “Users” (programmers) who created them.

Flynn learns that the MCP and its second-in-command, Sark, rule and coerce programs to renounce their belief in the Users. The MCP forces programs that resist to play in deadly games and begins pitting Flynn in duels. Flynn meets other captured programs, Ram and Tron, between matches. Partnered, the three escape into the mainframe during a light cycle (an arcade game Flynn is skilled at) match, but Flynn and Ram become separated from Tron by an MCP pursuit party. While attempting to help Ram, who was wounded in the pursuit, Flynn learns that he can manipulate portions of the mainframe by accessing his programmer knowledge. Ram recognizes Flynn as a User and encourages him to find Tron and free the system before “derezzing” (dying). Using his new ability, Flynn rebuilds a vehicle and disguises himself as one of Sark’s soldiers.

Tron enlists help from Yori, a sympathetic program, and at an I/O tower receives information from Alan necessary to destroy the MCP. Flynn rejoins them, and the three board a hijacked solar sailer to reach the MCP’s core. However, Sark’s command ship destroys the sailer, capturing Flynn and Yori and presumably killing Tron. Sark leaves the command ship and orders its deresolution, but Flynn keeps it intact by again manipulating the mainframe, while Sark reaches the MCP’s core on a shuttle carrying captured programs. While the MCP attempts to absorb captive programs, Tron, who turns out to have survived, confronts Sark and critically injures him, prompting the MCP to give him all its functions. Realizing that his ability to manipulate the mainframe might give Tron an opening, Flynn leaps into the beam of the MCP, distracting it. Seeing the break in the MCP’s shield, Tron attacks through the gap and destroys the MCP and Sark, ending the MCP’s control over the mainframe and allowing the captured programs to communicate with users again.

Flynn reappears in the real world, rematerialized at his terminal. Tron’s victory in the mainframe has released all lockouts on computer access, and a nearby printer produces the evidence that Dillinger had plagiarized Flynn’s creations. The next morning, Dillinger enters his office to find the MCP deactivated and the proof of his theft publicized. Flynn is subsequently promoted to CEO of ENCOM and is happily greeted by Alan and Lora as their new boss.

The inspiration for Tron occurred in 1976 when Steven Lisberger, then an animator of drawings with his own studio, looked at a sample reel from a computer firm called MAGI and saw Pong for the first time.[4] He was immediately fascinated by video games and wanted to do a film incorporating them. According to Lisberger, “I realized that there were these techniques that would be very suitable for bringing video games and computer visuals to the screen. And that was the moment that the whole concept flashed across my mind”.[5]

Lisberger had already created an early version of the character ‘Tron’ for a 30 second long animation which was used to promote both Lisberger Studios and a series of various rock radio stations. This backlit cel animation depicted Tron as a character who glowed yellow; the same shade that Lisberger had originally intended for all the heroic characters developed for the feature-length Tron. This was later changed to blue for the finished film (see Pre-production below). The prototype Tron was bearded and resembled the Cylon Centurions from the original 1978 TV series, Battlestar Galactica. Also, Tron was armed with two “exploding discs”, as Lisberger described them on the 2-Disc DVD edition (see Rinzler).

Lisberger elaborates: “Everybody was doing backlit animation in the 70s, you know. It was that disco look. And we thought, what if we had this character that was a neon line, and that was our Tron warrior – Tron for electronic. And what happened was, I saw Pong, and I said, well, that’s the arena for him. And at the same time I was interested in the early phases of computer generated animation, which I got into at MIT in Boston, and when I got into that I met a bunch of programmers who were into all that. And they really inspired me, by how much they believed in this new realm.”[6]

He was frustrated by the clique-like nature of computers and video games and wanted to create a film that would open this world up to everyone. Lisberger and his business partner Donald Kushner moved to the West Coast in 1977 and set up an animation studio to develop Tron.[5] They borrowed against the anticipated profits of their 90-minute animated television special Animalympics to develop storyboards for Tron with the notion of making an animated film.[4] But after Variety mentioned the project briefly during its early phase, it caught the attention of computer scientist Alan Kay. He contacted Lisberger and convinced him to use him as an adviser on the movie, then persuaded him to use real CGI instead of just hand-animation.[7]

Bonnie MacBird wrote the first drafts of Tron with extensive input from Lisberger,[8] basing the original personality of Alan on Alan Kay.[9] He gave her and Lisberger the same tour of Xerox PARC that famously inspired the Apple Macintosh,[9] and their many conversations (and a class she took with Donald Knuth at Stanford[8]) inspired her to include many computer science references.[10] As a result of working together, Kay and MacBird became close and later married.[8] She also created Tron as a character (rather than a visual demo) and Flynn.[8] Originally MacBird envisioned Flynn more comedically, suggesting the then-30-year-old Robin Williams for the role.[9] Besides many story changes after the script went to Disney, including giving it “a more serious tone with quasi religious overtones”,[8] and removing most of the scientific elements,[8] none of her dialogue remains in the final film,[10] and there was a “rather bitter credits dispute.”[10]

The film was eventually conceived as an animated film bracketed with live-action sequences.[5] The rest involved a combination of computer-generated visuals and back-lit animation. Lisberger planned to finance the movie independently by approaching several computer companies but had little success. However, one company, Information International Inc., was receptive.[5] He met with Richard Taylor, a representative, and they began talking about using live-action photography with back-lit animation in such a way that it could be integrated with computer graphics. At this point, there was a script and the film was entirely storyboarded, with some computer animation tests completed.[5] He had spent approximately $300,000 developing Tron and had also secured $4–5 million in private backing before reaching a standstill. Lisberger and Kushner took their storyboards and samples of computer-generated films to Warner Bros., Metro-Goldwyn-Mayer, and Columbia Pictures – all of which turned them down.[4]

In 1980, they decided to take the idea to Walt Disney Productions, which was interested in producing more daring productions at the time.[5] Tom Wilhite, Disney’s vice president for creative development, watched Lisberger’s test footage and convinced Ron Miller to give the movie a chance.[11][12] However, Disney executives were uncertain about giving $10–12 million to a first-time producer and director using techniques which, in most cases, had never been attempted. The studio agreed to finance a test reel which involved a flying disc champion throwing a rough prototype of the discs used in the film.[5] It was a chance to mix live-action footage with back-lit animation and computer-generated visuals. It impressed the executives at Disney and they agreed to back the film. MacBird and Lisberger’s script was subsequently re-written and re-storyboarded with the studio’s input.[5] At the time, Disney rarely hired outsiders to make films for them, and Kushner found that he and his group were given a chilly reception because they “tackled the nerve center – the animation department. They saw us as the germ from outside. We tried to enlist several Disney animators, but none came. Disney is a closed group.”[13] As a result, they hired Wang Film Productions for the animation.

Because of the many special effects, Disney decided in 1981 to film Tron completely in 65-mm Super Panavision (except for the computer-generated layers, which were shot in VistaVision and both anamorphic 35mm and Super 35 which were used for some scenes in the “real” world and subsequently “blown up” to 65 mm).[14] Three designers were brought in to create the look of the computer world.[5] French comic book artist Jean Giraud (also known as Moebius) was the main set and costume designer for the film. Most of the vehicle designs (including Sark’s aircraft carrier, the light cycles, the tank, and the solar sailer) were created by industrial designer Syd Mead. Peter Lloyd, a high-tech commercial artist, designed the environments.[5] Nevertheless, these jobs often overlapped, leaving Giraud working on the solar sailer and Mead designing terrain, sets and the film’s logo. The original ‘Program’ character design was inspired by Lisberger Studios’ logo of a glowing bodybuilder hurling two discs.[5]

To create the computer animation sequences of Tron, Disney turned to the four leading computer graphics firms of the day: Information International, Inc. of Culver City, California, who owned the Super Foonly F-1 (the fastest PDP-10 ever made and the only one of its kind); MAGI of Elmsford, New York; Robert Abel and Associates of California; and Digital Effects of New York City.[5]Bill Kovacs worked on the film while working for Robert Abel before going on to found Wavefront Technologies. The work was not a collaboration, resulting in very different styles used by the firms.

Tron was one of the first films to make extensive use of any form of computer animation, and it is celebrated as a milestone in the industry though only fifteen to twenty minutes of such animation were used,[15] mostly scenes that show digital “terrain” or patterns, or include vehicles such as light-cycles, tanks and ships. Because the technology to combine computer animation and live action did not exist at the time, these sequences were interspersed with the filmed characters. The computer used had only 2 MB of memory and no more than 330 MB of storage. This put a limit on detail of background; and at a certain distance, they had a procedure of mixing in black to fade things out, a process called “depth cueing”. The film’s Computer Effects Supervisor Richard Taylor told them “When in doubt, black it out!”, which became their motto.[16] Originally the film was meant to use white backgrounds like in THX 1138 inside the Grid, but it would require such huge amounts of lights that it was decided to use black backgrounds instead.[17]

The computers at the time could not do animation, so the frames had to be produced one by one. In some of the more complex sequences, like the Solar Sailer moving through metal canyons, each frame could take up to six hours to produce. There was no way to digitally print them on film either; rather, a motion picture camera was placed in front of a computer screen to capture each individual frame.[18][19][20]

Most of the scenes, backgrounds, and visual effects in the film were created using more traditional techniques and a unique process known as “backlit animation”.[5] In this process, live-action scenes inside the computer world were filmed in black-and-white on an entirely black set, placed in an enlarger for blow-ups and transferred to large format Kodalith high-contrast film. These negatives were then used to make Kodalith sheets with a reverse (positive) image. Clear cels were laid over each sheet and all portions of the figure except the areas that were exposed for the later camera passes were manually blacked out. Next the Kodalith sheets and cel overlays were placed over a light box while a VistaVision camera mounted above it made separate passes and different color filters. A typical shot normally required 12 passes, but some sequences, like the interior of the electronic tank, could need as many as 50 passes. About 300 matte paintings were made for the film, each photographed onto a large piece of Ektachrome film before colors were added by gelatin filters in a similar procedure as in the Kodaliths. The mattes, rotoscopic and CGI were then combined and composed together to give them a “technological” appearance.[13][21] With multiple layers of high-contrast, large format positives and negatives, this process required truckloads of sheet film and a workload even greater than that of a conventional cel-animated feature. The Kodalith was specially produced as large sheets by Kodak for the film and came in numbered boxes so that each batch of the film could be used in order of manufacture for a consistent image. However, this was not understood by the filmmakers and, as a result, glowing outlines and circuit traces occasionally flicker as the film speed varied between batches. After the reason was discovered, this was no longer a problem as the batches were used in order and “zinger” sounds were used during the flickering parts to represent the computer world malfunctioning as Lisberger described it.[22] Lisberger later had these flickers and sounds digitally corrected for the 2011 restored Blu-ray release as they were not included in his original vision of the film. Due to its difficulty and cost, this process of back-lit animation was not repeated for another feature film.

Sound design and creation for the film was assigned to Frank Serafine, who was responsible for the sound design on Star Trek: The Motion Picture in 1979.

At one point in the film, a small entity called “Bit” advises Flynn with only the words “yes” and “no” created by a Votrax speech synthesizer.

BYTE wrote: “Although this film is very much the personal expression of Steven Lisberger’s vision, nevertheless [it] has certainly been a group effort”.[23] More than 569 people were involved in the post-production work, including 200 inkers and hand-painters, 85 of them from Taiwan’s Cuckoo’s Nest Studio. Unusually for an English-language production, in the end credits the Taiwanese personnel were listed with their names written in Chinese characters.[13]

This film features parts of the Lawrence Livermore National Laboratory; the multi-storey ENCOM laser bay was the target area for the SHIVA solid-state multi-beamed laser. Also, the stairway that Alan, Lora, and Flynn use to reach Alan’s office is the stairway in Building 451 near the entrance to the main machine room. The cubicle scenes were shot in another room of the lab. At the time, Tron was the only film to have scenes filmed inside this lab.[24]

The original script called for “good” programs to be colored yellow and “evil” programs (those loyal to Sark and the MCP) to be colored blue. Partway into production, this coloring scheme was changed to blue for good and red for evil, but some scenes were produced using the original coloring scheme: Clu, who drives a tank, has yellow circuit lines, and all of Sark’s tank commanders are blue (but appear green in some presentations). Also, the light-cycle sequence shows the heroes driving yellow (Flynn), orange (Tron), and red (Ram) cycles, while Sark’s troops drive blue cycles; similarly, Clu’s tank is red, while tanks driven by crews loyal to Sark are blue.

Because of all the personal information about citizens which exist inside computer networks, such as social security number and driver’s license, the idea was that each real world person has a digital counterpart inside the Grid based on information about them, which is why it was decided to use some of the same actors in both worlds.[25]

Budgeting the production was difficult by reason of breaking new ground in response to additional challenges, including an impending Directors Guild of America strike and a fixed release date.[5] Disney predicted at least $400 million in domestic sales of merchandise, including an arcade game by Bally Midway and three Mattel Intellivision home video games.[13]

The producers also added Easter eggs: during the scene where Tron and Ram escape from the Light Cycle arena into the system, Pac-Man can be seen behind Sark (with the corresponding sounds from the Pac-Man arcade game being heard in the background), while a “Hidden Mickey” outline (located at time 01:12:29 on the re-release Blu-ray) can be seen below the solar sailer during the protagonists’ journey.

Tron was originally meant to be released during the Christmas season of 1982, but when chairman of the Disney board Card Walker found out the release date of Don Bluth’s film The Secret of NIMH was in early July, he rushed it into a summer release to be able to compete with Bluth, and it ended up competing with films like E.T. the Extra-Terrestrial, Star Trek II: The Wrath of Khan, Blade Runner and Poltergeist.[26]

The soundtrack for Tron was written by pioneer electronic musician Wendy Carlos, who is best known for her album Switched-On Bach and for the soundtracks to many films, including the Stanley Kubrick-directed films A Clockwork Orange and The Shining. The music, which was the first collaboration between Carlos and her partner Annemarie Franklin,[27] featured a mix of an analog Moog synthesizer and Crumar’s GDS digital synthesizer (complex additive and phase modulation synthesis), along with non-electronic pieces performed by the London Philharmonic Orchestra (hired at the insistence of Disney, which was concerned that Carlos might not be able to complete her score on time). Two additional musical tracks (“1990’s Theme” and “Only Solutions”) were provided by the American band Journey after British band Supertramp pulled out of the project. An album featuring dialogue, music and sound effects from the film was also released on LP by Disneyland Records in 1982.

Tron was released on July 9, 1982, in 1,091 theaters in the United States and Canada grossing USD $4 million on its opening weekend. It went on to gross $33 million in the United States and Canada[28] and $17 million overseas, for a worldwide gross of approximately $50 million,[1] which was Disney’s highest-grossing live action film for 5 years.[29]

In addition, the film had $70 million in wholesale merchandise sales.[29]

Despite the gross and merchandise sales, it was seen as a financial disappointment, and the studio wrote off some of its $17 million budget.[30]

The film was well received by critics. Roger Ebert of the Chicago Sun-Times gave the film four out of four stars and described it as “a dazzling movie from Disney in which computers have been used to make themselves romantic and glamorous. Here’s a technological sound-and-light show that is sensational and brainy, stylish and fun”.[31] However, near the end of his review, he noted (in a positive tone), “This is an almost wholly technological movie. Although it’s populated by actors who are engaging (Bridges, Cindy Morgan) or sinister (Warner), it’s not really a movie about human nature. Like Star Wars or The Empire Strikes Back but much more so, this movie is a machine to dazzle and delight us”.[31] Ebert closed his first annual Overlooked Film Festival with a showing of Tron.[32]Gene Siskel of the Chicago Tribune also awarded four out of four stars, calling it “a trip, and a terrifically entertaining one at that…It’s a dazzler that opens up our minds to our new tools, all in a traditional film narrative.”[33]Tron was also featured in Siskel and Ebert’s video pick of the week in 1993.

InfoWorld’s Deborah Wise was impressed, writing that “it’s hard to believe the characters acted out the scenes on a darkened soundstage… We see characters throwing illuminated Frisbees, driving ‘lightcycles’ on a video-game grid, playing a dangerous version of jai alai and zapping numerous fluorescent tanks in arcade-game-type mazes. It’s exciting, it’s fun, and it’s just what video-game fans and anyone with a spirit of adventure will love—despite plot weaknesses.”[34]

On the other hand, Variety disliked the film and said in its review, “Tron is loaded with visual delights but falls way short of the mark in story and viewer involvement. Screenwriter-director Steven Lisberger has adequately marshalled a huge force of technicians to deliver the dazzle, but even kids (and specifically computer game geeks) will have a difficult time getting hooked on the situations”.[35] In her review for The New York Times, Janet Maslin criticized the film’s visual effects: “They’re loud, bright and empty, and they’re all this movie has to offer”.[36] The Washington Post’s Gary Arnold wrote, “Fascinating as they are as discrete sequences, the computer-animated episodes don’t build dramatically. They remain a miscellaneous form of abstract spectacle”.[37] In his review for The Globe and Mail, Jay Scott wrote, “It’s got momentum and it’s got marvels, but it’s without heart; it’s a visionary technological achievement without vision”.[38]

On review aggregation website Rotten Tomatoes, the film holds a 72% rating based on the reviews of 65 critics, with an average rating of 6.38/10. The website’s consensus states: “Though perhaps not as strong dramatically as it is technologically, TRON is an original and visually stunning piece of science fiction that represents a landmark work in the history of computer animation.”[39]Metacritic gave the film a score of 58 based on 13 reviews, indicating “mixed or average reviews”.[40]

In the year it was released, the Motion Picture Academy refused to nominate Tron for a special-effects award because, as director Steven Lisberger puts it, “The Academy thought we cheated by using computers”.[41] The film did, however, earn Oscar nominations in the categories of Best Costume Design and Best Sound (Michael Minkler, Bob Minkler, Lee Minkler, and James LaRue).[42]

In 1997, Ken Perlin of the Mathematical Applications Group, Inc. won an Academy Award for Technical Achievement for his invention of Perlin noise for Tron.[43]

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The film, considered groundbreaking, has inspired several individuals in numerous ways. John Lasseter, head of Pixar and Disney’s animation group, described how the film helped him see the potential of computer-generated imagery in the production of animated films, stating “without Tron, there would be no Toy Story.”[44][45]

The music video of the song “Abiura di me” of the Italian rapper Caparezza is based on Tron.[citation needed] The two members of the French house music group Daft Punk, who scored the sequel, have held a joint, lifelong fascination with the film.[46] Also, in Gorillaz’ music video for the song “Feel Good Inc.”, Russel, the fictional drummer of the band, can be seen wearing an Encom hat.[47]

Tron developed into a cult film and was ranked as 13th in a 2010 list of the top 20 cult films published by The Boston Globe.[48]

The film heavily inspired the music video for Danish pop/dance group Infernal’s 2006 hit single “From Paris to Berlin”.

The Disco Biscuits, a Philadelphia-based jam band heavily influenced by electronic music, played an entire free-form set to correspond with the movie “Tron”, which was projected onto a partially transparent curtain in the front of the stage for their December 31, 2015 New Year’s Eve show from the PlayStation Theater in Times Square, New York city.

In 2008, the American Film Institute nominated this film for its Top 10 Science Fiction Films list.[49]

The Simpsons reference Tron in Season 7, Episode 6 (Treehouse of Horror VI)

A novelization of Tron was released in 1982, written by American science fiction novelist Brian Daley. It included eight pages of color photographs from the movie.[50] In the same year, Disney Senior Staff Publicist Michael Bonifer authored a book entitled The Art of Tron which covered aspects of the pre-production and post-production aspects of Tron.[51][52] A nonfiction book about the making of the original film, The Making of Tron: How Tron Changed Visual Effects and Disney Forever, was written by William Kallay and published in 2011.

Tron made its television debut, as part of Disney Channel’s first day of programming, on April 18, 1983, at 7:00PM (ET).[53]

Tron was originally released on VHS, Betamax, LaserDisc, and CED Videodisc in 1983. As with most video releases from the 1980s, the film was cropped to the 4:3 pan and scan format. The film saw multiple re-releases throughout the 1990s, most notably an “Archive Collection” LaserDisc box set,[54] which featured the first release of the film in its original widescreen 2.20:1 format. By 1993, Tron had grossed $17 million in video rentals.[55]

Tron saw its first DVD release on May 19, 1998. This bare-bones release utilized the same non-anamorphic video transfer used in the Archive Collection LaserDisc set, and it did not include any of the LD’s special features. On January 15, 2002, the film received a 20th Anniversary Collector’s Edition release in the form of a special 2-Disc DVD set. This set featured a new THX mastered anamorphic video transfer, and it included all of the special features from the LD Archive Collection plus an all-new 90 minute “Making of Tron” documentary.

To tie in with the home video release of Tron: Legacy, the movie was finally re-released by Walt Disney Studios Home Entertainment on Special Edition DVD and for the first time on Blu-ray Disc on April 5, 2011, with the subtitle “The Original Classic” to distinguish it from its sequel. Tron was also featured in a 5-Disc Blu-ray Combo with the 3D copy of Tron: Legacy. The film was re-released on Blu-ray and DVD in the UK on June 27, 2011.

Tron: Uprising takes place during the time period between the story lines of the two movies Tron (1982) and Tron: Legacy (2010). In the series, young program Beck becomes the leader of a revolution inside the computer world of The Grid, tasked with the mission of freeing his home and friends from the reign of Clu and his henchman, Gen. Tesler. To prepare for the challenge, Beck is trained by Tron – the greatest warrior The Grid has ever known – who mentors Beck as he grows beyond his youthful nature into a courageous and powerful leader. Destined to become the system’s new protector, Beck adopts Tron’s persona to battle the forces of evil.

On January 12, 2005, Disney announced it had hired screenwriters Brian Klugman and Lee Sternthal to write a sequel to Tron.[56] In 2008, director Joseph Kosinski negotiated to develop and direct TRON, described as “the next chapter” of the 1982 film and based on a preliminary teaser trailer shown at that year’s San Diego Comic-Con, with Lisberger co-producing.[57] Filming began in Vancouver, British Columbia in April 2009.[58] During the 2009 Comic-Con, the title of the sequel was revealed to be changed to Tron: Legacy.[59][60] The second trailer (also with the Tron: Legacy logo) was released in 3D with Alice In Wonderland. A third trailer premiered at Comic-Con 2010 on July 22. At Disney’s D23 Expo on September 10–13, 2009, they also debuted teaser trailers for Tron: Legacy as well as having light cycle and other props from the film there. The film was released on December 17, 2010, with Daft Punk composing the score.[61]

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The Magnificent Look of … TRON; Electronic Games, 1982-10 – page 56

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“The Soundtrack of TRON”

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the original

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“AFI’s 10 Top 10 Nominees”

Wendy Carlos (born Walter Carlos; November 14, 1939) is an American musician and composer best known for her electronic music and film scores. Born and raised in Rhode Island, Carlos studied physics and music at Brown University before moving to New York City in 1962 to study music composition at Columbia University. Studying and working with various electronic musicians and technicians at the city’s Columbia-Princeton Electronic Music Center, she helped in the development of the Moog synthesizer, the first commercially available keyboard instrument created by Robert Moog.

Carlos came to prominence with Switched-On Bach (1968), an album of music by Johann Sebastian Bach performed on a Moog synthesizer, which helped popularize its use in the 1970s and won her three Grammy Awards.[1] Its commercial success led to several more albums, including further synthesized classical music adaptations, and experimental and ambient music. She composed the score to two Stanley Kubrick films – A Clockwork Orange (1971) and The Shining (1980) – and also Tron (1982) for Walt Disney Productions.

In 1979, Carlos raised public awareness of transgender issues by disclosing she had been living as a woman since at least 1968, and in 1972 had undergone sex reassignment surgery.[2][3][4]

Carlos was born in Pawtucket, Rhode Island, the first of two children born to working-class parents.[5] Her mother played the piano and sang and had an uncle who played the trombone and another who played the trumpet and drums.[5] She began piano lessons at six years of age,[6] and wrote her first composition, “A Trio for Clarinet, Accordion, and Piano,” at 10.[7] Carlos attended St. Raphael Academy, a Catholic high school in Pawtucket. In 1953, at fourteen, Carlos won a scholarship for building a computer presented at the Westinghouse Science Fair, a science competition for high-school students.[8] From 1958 to 1962, Carlos studied at Brown University and graduated with a degree in music and physics, during which she taught lessons in electronic music at informal sessions.[9]

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In 1965, Carlos graduated from Columbia University with a master’s degree in music composition, and assisted Leonard Bernstein in presenting an evening of electronic music at the Philharmonic Hall.[9] Carlos studied with Vladimir Ussachevsky and Otto Luening, two pioneers of electronic music in the 1960s; they were based in the Columbia-Princeton Electronic Music Center in New York City, the first of its kind in the United States. After Ussachevsky suggested to Carlos that she work in a recording studio to support herself, Carlos began working as a recording and mastering engineer at Gotham Recording Studios in New York City; she worked in this position until 1968.[5][9][10] She called it “a really lovely occupation” and found it a useful learning experience.[10]

During her time at Columbia, Carlos met Robert Moog at the annual Audio Engineering Society show,[11] which began a partnership; Carlos gave advice and technical assistance in the development of the Moog synthesizer, Moog’s new electronic keyboard instrument, convincing Moog to add a touch-sensitive device for greater musical dynamics, among other improvements.[12] By 1966, Carlos owned a small Moog synthesizer, which she used to record sound effects and jingles for television commercials, which earned her “anywhere from $100 to $1000.”[5] In 1967, Carlos befriended Rachel Elkind, a former singer[5] who had a musical theatre background and worked as a secretary for Goddard Lieberson, then-president of Columbia Records. The two shared a home, studio, and business premises in a brownstone building in the West Side of Manhattan in New York City.[13]

Carlos recorded several compositions in the 1960s as a student at the Columbia-Princeton Electronic Music Center. Two of them were re-recorded and released on By Request (1975), Dialogues for Piano and Two Loudspeakers (1963) and Episodes for Piano and Electronic Sound (1964), both featuring Phillip Ramey on piano. A third, Variations for Flute and Electronic Sounds (1964, featuring John Heiss on flute) was recorded and released in 1965 on a Turnabout Records “Electronic Music” compilation. Other known, but unreleased student compositions include “Episodes for Piano and Tape” (1964), “Pomposities for Narrator and Tape” (1965), and “Noah” (1965), a two-hour opera blending electronics with an orchestra. Carlos’ first commercial release was Moog 900 Series – Electronic Music Systems (1967), an introduction to the technical aspects of the Moog synthesizer released as a nine-minute single-sided mono LP and narrated by Ed Stokes.[14] Part of her compensation for making the recording was in Moog equipment.[11]

Carlos’s music career began with Switched-On Bach, an album formed of several pieces by Johann Sebastian Bach performed on a Moog modular synthesizer. The idea came about around 1967, when Carlos asked Elkind to listen to some recordings by Carlos and musicologist Benjamin Folkman made up to ten years prior at the Electronic Music Center, one of them being Bach’s Two-Part Invention in F major, which Elkind took a liking to. Plans for an album of several Bach compositions developed from there, leading to a recording contract with Columbia Masterworks through Elkind’s contacts, a deal that lasted until 1986. The label had launched an album sales campaign named “Bach to Rock,” though it had no album of Bach’s works in a contemporary context in its catalogue.[5] With a $2,500 advance,[15] Columbia granted Carlos and Elkind artistic freedom to produce and release the album. Carlos performs with additional synthesizers played by Folkman and with Elkind as producer. Recording was a dragged-out and time-consuming process as the instrument could only be played one note at a time.[16]

Released in October 1968,[17]Switched-On Bach became an unexpected commercial and critical success and helped to draw attention to the synthesizer as a genuine musical instrument.[16][18]Newsweek dedicated a full page to Carlos with the caption “Plugging into the Steinway of the future.”[5] It peaked at No. 10 on the US Billboard 200 chart and was No. 1 on its Classical Albums chart from January 1969 to January 1972. It was the second classical album to sell over one million copies and was certified Gold in 1969 and Platinum in 1986 by the Recording Industry Association of America.[19][20] Carlos performed selections from the album on stage with a synthesizer with the St. Louis Symphony Orchestra, the first of only two live performances since her days as a student (the other being with the Kurzweil Baroque Ensemble for “Bach at the Beacon” in 1997).[21][15] In 1970, the album won a Grammy Award for Best Classical Album, Best Classical Performance – Instrumental Soloist or Soloists (With or Without Orchestra), and Best Engineered Classical Recording. Carlos released a follow-up, The Well-Tempered Synthesizer, with synthesized pieces from multiple composers. Released in November 1969, the album reached No. 199 on the Billboard 200 and received two Grammy nominations. The success of both albums allowed Carlos to move into Elkind’s more spacious New York City home in 1971.[5]

After the release of Switched-On Bach, Carlos was invited to compose the soundtrack of two science fiction films, Marooned (1969), directed by John Sturges, and A Clockwork Orange (1971) by Stanley Kubrick. When the directors of Marooned changed their minds about including a soundtrack, Carlos chose to work with Kubrick, as she and Elkind were fans of his previous films, adding: “We finally wound up talking with someone who had a close connection to Stanley Kubrick’s lawyer. We suddenly got an invitation to fly to London.”[22] Before Carlos knew about the offer, she read the book and began writing a piece based on it named “Timesteps”. A soundtrack containing only the film cuts of the score was released as Stanley Kubrick’s Clockwork Orange in 1972, combining synthesized and classical music by Henry Purcell, Beethoven and Gioacchino Rossini with an early use of a vocoder. The album peaked the Billboard 200 chart at No. 146.[23] Later that year, Carlos released an album of music not included in the final score titled Walter Carlos’ Clockwork Orange. Carlos later described the project as “a lot of fun … a pleasurable venture”.[22]

Carlos experimented with ambient music on her third studio album Sonic Seasonings, released as a double album in 1972, with one side-long track dedicated to each of the four seasons. Recorded as early as 1970 and finished in mid-1971, before the A Clockwork Orange project was complete, Carlos wished to produce music that did not require “lengthy concentrated listening”, but more than a collection of ambient noises to portray an environment.[24] It combined field recordings of animals and nature with synthesized sounds, occasionally employing melodies, to create soundscapes. It reached No. 168 in the Billboard 200 and influenced other artists who went on to pursue the ambient and new-age genres in later years.[25]

By 1973, Columbia/CBS Records had received a considerable number of requests for Carlos to produce another album of synthesized classical music. She agreed to the request, opting to produce a sequel to Switched-On Bach, which began with her and Elkind seeking compositions that were most suitable for the synthesizer; the two picked selections from Suite No. 2 in B minor, Two-Part Inventions in A minor and major, Suite from Notebook for Anna Magdalena Bach, and Brandenburg Concerto No. 5 in D major. The latter features a Yamaha E-5 Electone organ for certain passages, as a reliable polyphonic keyboard had not been developed. The result, Switched-On Bach II, was released in 1973 and sold over 70,000 copies in the US during the first five weeks of its release.[26]

Following Switched-On Bach II, Carlos changed musical directions once more. In 1971, she and Elkind had asked Columbia Records to attach a pre-paid business reply card in each new pressing of her albums, which resulted in a considerable amount of suggestions from the public regarding the subject of her future releases.[27] The ideas received were divided; some asked for more classical adaptations, while others wanted more of Carlos’ original compositions. Carlos decided, “If I was going to spend months for mere minutes of music, I certainly wasn’t going to be pigeonholed into only retreading existing music”, and so began a process of “re-directing new ideas, reworking old ones”. By mid-1974, Carlos and Elkind had selected tracks of varying styles to record on the Moog synthesizer, which Carlos found liberating, as it demonstrated the flexibility of the instrument.[28] Released as By Request in 1975, the album includes pieces from Bach, Wagner, Tchaikovsky, two of Carlos’ compositions from the 1960s, and renditions of “Eleanor Rigby” by The Beatles and “What’s New Pussycat?”, originally sung by Tom Jones.[27] The final track, a “witty and serious” set of variations based on themes by Edward Elgar, was replaced with tracks from The Well-Tempered Synthesizer on UK pressings after members of Elgar’s estate refused to have his music presented in this style, which “devastated” Carlos.[28] Between 1974 and 1980 she scored several short films for producer Dick Young for UNICEF (seven of which were released in 2005 on Rediscovering Lost Scores, Vol.1).[22][29]

By Request was followed by Switched-On Brandenburgs, a double album containing all six of Bach’s Brandenburg Concertos played on a synthesizer, in 1980.[30]

Carlos reunited with Kubrick to compose the score for his psychological horror film The Shining (1980). Before filming began, Carlos and Elkind read the book, as per Kubrick’s suggestion, for musical inspiration. Carlos recorded a considerable amount of music, but Kubrick ended up using existing music by several avant-garde composers he had used as guide tracks in the final version. The Shining (Original Motion Picture Soundtrack), released in 1980 on Warner Bros. Records, features two tracks credited to Carlos and Elkind: the main title theme and “Rocky Mountains”, the former a reinterpretation of the “Dies Irae” section of Symphonie fantastique by Hector Berlioz. Some of Carlos’ music had some legal issues regarding its release, but much of it was made available in 2005 as part of her two-volume compilation album Rediscovering Lost Scores.[citation needed]

With work on The Shining complete, Elkind ended her long-time collaboration with Carlos when she moved to France with her husband in 1980. Carlos remained in New York City, sharing a converted loft in Greenwich Village with her new business partner Annemarie Franklin, which housed her new, remodelled studio, which was enclosed in a Faraday cage to shield the equipment from white noise and outside interference from radio and television signals.[31]

Carlos’ first project with Franklin began around 1980, when The Walt Disney Company asked her to record the soundtrack to its science fiction feature Tron (1982). Carlos agreed, but was not interested in composing solely with electronic music, as she wished to incorporate an orchestra with her musical ideas. She recalled their demands were “tightly specified … there wasn’t a lot of elbow room, and that made it fun”.[22] The score incorporated Carlos’ analog and digital synthesizers with the London Philharmonic Orchestra, the UCLA Chorus, and the Royal Albert Hall Organ.[32]Tron: Original Motion Picture Soundtrack was released in 1982 and reached No. 135 on the Billboard 200. Carlos intended to release her scores on her own album, but Columbia/CBS showed a lack of interest in the prospect.[22]

Three studio albums from Carlos were released in the 1980s. The first was Digital Moonscapes in 1984, Carlos’ first to only feature digital synthesizers. She wrote the album’s tracks for orchestra “or orchestra replica”, inspired by various astronomical subjects, which used some leftover material from her score to Tron. Soon after, Carlos secured a deal with Audion Records, a smaller label, as she wished to “get away from that kind of big, monolithic government-like aspect that [she] had dealt with for so many years”.[10] In 1986, Audion released Beauty in the Beast, which saw Carlos experiment with just intonation, Balinese scales, and four new microtonal scales she devised for the album: Harmonic, Alpha, Beta, and Gamma.[33] The album features the first instance of a 35-note octave.[10] Carlos considers the album as the most important of her career. She followed the album with Secrets of Synthesis in 1987, her final album for CBS/Columbia, featuring several introductions and demonstrations of synthesized music from Carlos with audio examples from her previous albums.[citation needed]

In 1988, CBS Records asked Carlos to collaborate with comical musician “Weird Al” Yankovic to release a parody of Peter and the Wolf by Sergei Prokofiev. Carlos agreed to the project, as she felt it presented a chance “to let your sense of humor out of the cage”.[10] Yankovic adapted and narrated its story, while Carlos rearranged the music with a “MIDI orchestra”, her first venture using the digital interface.[10] The album’s second side also contains a humorous adaptation of The Carnival of the Animals by Camille Saint-Saëns titled “The Carnival of the Animals–Part II”, with Yankovic providing funny poems for each of the featured animals in the style of poet Ogden Nash, who did similar for the original.[34] Released in October 1988, Peter and the Wolf/Carnival of the Animals–Part II was nominated for a Grammy Award for Best Album for Children in 1989.[35]

To mark the 25th anniversary of Switched-On Bach, Carlos re-recorded the album with her set of digital instruments and recording techniques. Released in 1992 on Telarc Records, Switched-On Bach 2000 took roughly one and a half years to produce; Carlos estimated around 3,000 hours were invested in the project, which involved using several digital audio workstation software packages, including Pro Tools. A Moog synthesizer is only used once on the record; the rest is performed on 13 modern synthesizers. The album also marked her first venture into mixing in Dolby Surround sound.[36]

Carlos wrote the soundtrack to the British film Brand New World (1998), also known as Woundings, directed by Roberta Hanley and based on a play by Jeff Noon. Carlos explained the style of her music: “I was given fairly large carte blanche to do some horrific things and also some inside-psyche mood paintings, and that’s what the film became”.[22]

In 1998, Carlos released her most recent studio album, Tales from Heaven and Hell, for the East Side Digital label.[37]

Beginning in 1998, Carlos digitally remastered her studio albums, culminating in the Switched-On Box Set released in 1999 featuring her four synthesized classical albums.[citation needed]

In 2005, the two-volume set Rediscovering Lost Scores was released, featuring previously out-of-print material, including the unreleased soundtrack to Woundings and music recorded for A Clockwork Orange, The Shining and Tron that was not used in the films.[38][39]

Carlos became aware of her gender dysphoria at an early age, recalling: “I was about five or six… I remember being convinced I was a little girl, much preferring long hair and girls’ clothes, and not knowing why my parents didn’t see it clearly”.[5] While at Brown, she went on a date with a girl and felt “so jealous of her I was beside myself”.[15] Sometime after entering graduate school (Columbia University) in the fall of 1962 she encountered studies of transgender issues for the first time, which explained to her what she was feeling. In the summer of 1966 New York sexologist and pioneering transgender advocate Harry Benjamin published his landmark book The Transsexual Phenomenon, and in the fall of 1967 Carlos began counseling with him (well before Switched-On Bach).[15] By early 1968 Carlos had begun hormone replacement treatments under Benjamin’s care, which began altering her appearance.[5][40][41] This created some problems for Carlos when Switched-On Bach became an unexpected hit after its release in October 1968. Prior to a live performance of excerpts from the album with the St. Louis Symphony Orchestra, Carlos felt terrified to appear in public. She cried in her hotel room and left wearing fake sideburns and a man’s wig, and drew facial hair on her face with an eyebrow pencil to disguise herself as a man. Carlos did the same thing when she met Kubrick and for an appearance on The Dick Cavett Show in 1970.[15] Finally, the commercial success of Switched-On Bach allowed Carlos to undergo sex reassignment surgery in May 1972,[3] although for marketing reasons she released two more albums as Walter Carlos (1973’s Switched On Bach II and 1975’s By Request.)[15]

Carlos disclosed her transgender status in a series of interviews with Arthur Bell held between December 1978 and January 1979 and published in the May 1979 issue of Playboy magazine. She explained that Playboy had “always been concerned with liberation, and [I was] anxious to liberate myself”.[5] In 1985, Carlos spoke about the reaction to her transition: “The public turned out to be amazingly tolerant or, if you wish, indifferent … There had never been any need of this charade to have taken place. It had proven a monstrous waste of years of my life.”[15] The first album released after the Playboy interview, Switched-On Brandenburgs (1980) and all subsequent releases and re-releases have been issued under Wendy’s name.

In 1998, Carlos sued the songwriter/artist Momus for $22 million regarding the song “Walter Carlos” (from the album The Little Red Songbook, released that year), which postulated that the post–sex reassignment surgery Wendy could travel back in time to marry her pre-transition self, Walter.[42] The case was settled out of court, with Momus agreeing to remove the song from subsequent editions of the CD and owing $30,000 in legal fees.[43]

A Carlos biography was published by Oxford University Press in 2020. The author was unable to secure interviews with the artist or anyone close to her.[44] On her personal website, Carlos describes the work as “fiction” that mischaracterizes her life and deceased parents.[45]

Switched-On Bach was the winner of three 1969 Grammy Awards:[46][47]

In 2005, Carlos was the recipient of the SEAMUS Lifetime Achievement Award “in recognition of lifetime achievement and contribution to the art and craft of electro-acoustic music” by the Society for Electro-Acoustic Music in the United States.[48]

Carlos contributed a review of the then-available synthesizers to the June 1971 edition of the Whole Earth Catalog, contrasting the Moog, Buchla and Tonus (aka ARP) systems. She was dismissive of smaller systems like the EMS Putney and the Minimoog as “toys” and “cash-ins”.[11]

Carlos is also an accomplished solar eclipse photographer. Her work has been published online by NASA[49][50][51][52][53] and has appeared on the cover of Sky & Telescope. She has developed various techniques for the extension of dynamic range in eclipse photography by the use of digital composites.[citation needed]

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“Wendy Carlos: In the Moog”

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“Wendy Carlos: New Directions for a Synthesizer Pioneer”

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“A Clockwork Composer”

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The CoinDesk 20 filters from the larger universe of thousands of cryptocurrencies and digital assets to define a core group of 20.

These assets constitute roughly 99% of the market by volume at eight of the largest and most trustworthy exchanges.

Justin Sun founded the Tron Foundation in Singapore in 2017 with the aim of creating a protocol that could “decentralize the internet” and support decentralized applications. Beginning on Ethereum, it migrated onto its own blockchain in 2018, and Sun has now directly positioned Tron as a competitor to Ethereum. According to the foundation, the July 2018 acquisition of BitTorrent further cemented TRON’s leadership in pursuing a decentralized ecosystem. In 2019, Tron and Tether announced a partnership to launch USDT on the Tron blockchain as a TRC-20 token – the protocol’s equivalent of a ERC-20 – with the aim of improving liquidity on decentralized exchanges. According to the project’s whitepaper, the network is based on a proof-of-stake system, in which 27 “super representatives,” or SRs, produce blocks for the network. A total of 336,384,000 TRX are awarded annually to the SRs.

Bitcoin trades above $19,000 as ether options volume on exchange Deribit spikes.

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Bitcoin’s price hit $13,600 before retrenching while some investors pulled crypto out of DeFi.

BitTorrent is evolving into an ecosystem of decentralized storage, data protocols and content distribution, the firm says.

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By Pater Tenebrarum The Investment Asset of the Century Makes yet another Comeback Even the most ardent cryptocurrency bulls are probably slightly slack-jawed at this juncture and can hardly believe it. To be sure, many people were undeterred by the vicious bear market that saw BTC melt down from just

Investment Thesis In the face of climbing from one all-time high to another all-time high within a brief period, Bitcoin (BTC-USD) demonstrates that its pullbacks are short-lived and have proven to be excellent entry points. Furthermore, large investors like MicroStrategy (MSTR), MassMutual, and hedge funds are aggressively advancing into the

Bitcoin’s price passed $12,000 while Ethereum fees dipped.

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The partnership will bring BitGo’s wrapped bitcoin (WBTC) into the Tron ecosystem as a TRC-20 token.

Bitcoin price dipped Wednesday while investors park crypto in Ethereum sidechain stablecoin xDai.

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Title:
Tron
(1982)

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Hacker/arcade owner Kevin Flynn is digitally broken down into a data stream by a villainous software pirate known as Master Control and reconstituted into the internal, 3-D graphical world of computers. It is there, in the ultimate blazingly colorful, geometrically intense landscapes of cyberspace, that Flynn joins forces with Tron to outmaneuver the Master Control Program that holds them captive in the equivalent of a gigantic, infinitely challenging computer game.
Written by
Anthony Pereyra {hypersonic91@yahoo.com}

When this came out, about 25 years ago, the special-effects were eye-popping. I was stunned and saw this twice at the theater, something I rarely did. Nowadays, it looks primitive. It’s like when video games first came out, compared to what they are now.However, a few years ago when the DVD came out with the widescreen and 5.1surround sound, it made it somewhat-respectable again in parts and made it still fun to watch.The story was never that great. There was too much technical talk and the characters were the kind you really couldn’t get involved over. It’s nothing super, but if you’ve never seen it, I still recommend it. I don’t recall any other movie quite like it.

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