Just got done with the Tron press conference right after their panel, where they showed some amazing new footage and photos (check out our Disney panel coverage) and am currently transcribing it.

***Update: You can also check out the Tron synopsis to get the cliff notes version of what you can expect from the long awaited sequel! Plus, the official teaser trailer is now online!

Check out what they had to say below…

Steve, I guess in Tron — it was made 30 years ago — it was not only groundbreaking in terms of special effects, but in terms of using the (psychi-acts)?

Steve Lisberger: The first films had to cross the line to get to the new frontier and did that, but we were free to imagine any way we wanted; we didn’t have to think of the implications too much, we could bring down the time share, name frame get a PC in the hands of everyone everything was going to be peachy-keen and the next way is to move in cyberspace and really integrate like I said, into modern life — make it all it can be and there’s no more excuses, you know, we’ve got to make it civilized, we’ve got to make it represent all the best that we are and try to void representing all the worst that we are. So it’s a challenge of making it real and Joseph [Kosinski] has done a phenomenal job of just taking up that and making real on many levels.

Jeff what did you want there to be in the film before you said yes to it?

Jeff Bridges: Well, you know, what got me to say yes to the first one was all the new innovation and also, Steve’s enthusiasm and how clearly he saw his vision and his enthusiasm is kind of contagious and I went with it and it was a wonderful experience and it was similar on this one. I was so happy to know that Steve, the source of the material, was still involved that was a big plus, and having met Joe and seeing all his talent and how he could really pull this thing off and I knew that it would have to be more than the first Tron and I saw that Joe had the goods to do that and the challenge was kind of the story and that was the big special effect, as far as I was concerned, getting that story right and we worked on it and worked on it and I think we came up with it. It’s interesting with these huge budget movies, you would think that the script would be all in order, but my experience is that it’s not that way and it’s almost like a very expensive student film in a way in that you have to, you know, ‘Let’s figure it out, c’mon how do we do it, we have to do this, c’mon,’ until you figure out and are on the happy-base and I can’t think of any unhappy-base actually in this one, where you pull it off. It’s exhilarating the way it works and sometimes it could be kind of maddening, but it’s also very exciting the way they work and very fresh and almost like making an independent film, funny sort of way.

Why is it important for Disney to re-invent some of these classic films from the Disney library?

Head of Disney Studios person: It’s actually not been a specific strategy of ours, I sort of look at it as, “Is there an idea that excites me?” and “Is there a great story and a great story-teller that we can combine to come up with something that’s fresh and unique that would get me passionate about seeing that movie and frankly seeing Bailey’s everyday for 50 to 100 days, so as just said, it comes down to vision. I think, when Joe presented his vision of what the world of Tron was going to look like, and put together this amazing cast and it was a perfect combination to me in this case of someone life Jeff, who is a screen icon for decades, and having him connected to this movie was essential, I think it was essential to all of us on the film making side and then combining that with new technology and it was important that all of us set the bar really high for that new technology and new actors onscreen and the combination of all that was going to kind of add one and one to equal three. So it was never a goal of mine to look through the Disney library and say, “Let’s do that and that and that,” perfect just coming out of an Alice and Wonderland screening, so that doesn’t sound genuine, but it’s the truth, you know, with a movie like Alice and Wonderland, or a Christmas Carol, or Tron, to me it depends on the vision and if Joe Kosinski didn’t have the vision that he had for this project, we wouldn’t be here today talking about it. It just has to be that perfect merit.

Jeff, did you ever think there would be a Tron 2.0, let alone fighting your young-self in it?

Jeff: Over the years, I’d be at something like this and somebody would say, “So I hear their making a new Tron,” and I’d say, “What are you talking about?” They’d say, “Oh yeah, you’re kind of lost in the world, kind of an Apocalypse-now, you know, you’re cursed or something,” and I’d say, “What are you talking about?” And here it is, 30 years later — quite amazing.

What’s that technology that allows you to reconnect with your younger-self? We see you from Tron one also.

Jeff: It’s kind of bizarre. It’s almost talking about this stuff, it’s almost, I’m kind of reddish because it’s a bit like a magician showing, “Now this is how I am going to do the trick!” and he shows you how to do it and he says, “Now I’ll show you the trick!” You’ll loose some of the excitement of seeing the trick so I don’t want to talk too much about all the techniques that went in, but it was challenge.

Can you talk about story-wise, what did you need to do?

Jeff: Story-wise — sometimes I’ll look at a movie often as if it’s a dream, you know what they say about a dream, all the characters are in your dream, the different aspects of you, and so this movie, I would go into that zone occasionally and think of it as a dream and that all of these characters are aspects of myself or of Kevin Flynn, in this case.

I heard downstairs, you showed a picture of Tron city, I’d love to hear more about this new world that the people are going to go into?

Joseph Kosinski: The world of Tron has evolved kind of on it’s own, like an aquarium, disconnected from the outside world for you know, 25 years, as its continued to evolve, its continued to grow, the simulation has gotten more perfect and more realistic so the scale of the world is much bigger than it was before, the realism, the physics, the visceral quality of it; it all feels, I want the film to feel like we went in and shot everything with motion picture cameras; The line between what’s real and not should be blurred so you can’t tell the difference.

What do you mean by cyber-western?

Steven Lisberger: I meant that in the sense that in a way the cyberspace has a connection to what westerns represent, in that it’s the frontier that will now never change. The original cyberspace of Tron is sort-of, has its place and time when all of this just happened for the first time and it’s pretty amazing to me that after 27 years, Joe can do an image and we can put it on the screen and people will just say, “Wow, that’s Tron,” if you know it’s Tron. So I meant it in the sense that it’s a perpetual frontier now like westerns are.

The movie was previously considered innovative and even though CGI was in its baby steps, now so many years later, how is this movie going to be new and fresh?

Steven: People say to me, what’s it like doing Tron after all these years now that computers can do everything and we love to believe that, but the fact of the matter is that no matter how much they can do, Joe is going to do 105 percent and we’re going to end up 5 percent short of computer power. Civilization always pushes the tools right to the limit and its a misnomer to think that we can do anything; whatever we can do, we’re going to do it and we’re going to try and do something that we probably might be a step too far, so it’s always a challenge.

Jeff: Looking back at that first one, you’d think it was such an advanced thing — I remember, correct me if I’m wrong Steven, but it was shot in 70 mm black and white, we had black paint and white tape — that was basically our set and it was all hand-tinted by Korean ladies, right?

Steven: A lot of it was done by hand using traditional techniques and we sort of degraded the live action so it lined up with what CG could do at the time so we didn’t get hung up on trying to make CG look real because it’s still struggling to look real. One of the things that was interesting back then to some of the old-timers that helped us make the film, they use to say, “The fact that we’re not sure how all of this is going to come out, this actually feels like the old days around here,” and people have a mistaken idea that all the classic films were predictable and they knew exactly how they were going to come out and what it was going to be like to make them and it really apparently wasn’t that way that they always felt that they were running as fast as they could and they might be on the break of having bitten off too much, so that was really satisfying to hear that we were doing that and we always use to joke that every night we’d wait for Bambi and Thumper to come out and help us, but I can’t say whether they did or not.

This whole 3-D thing, Disney saved the best in a lot of 3D, so should we expect high decimals of 3-D, should we expect groundbreaking …

Steven:  Yeah, I think that’s true. I’m really excited about 3-D but I’m also excited, I’m probably the most excited about these 3-D’s right here, the Garrett, the Olivia and the Bridges. 3-D to me, is what we’re doing now in America, which is we’re being pretty good about manipulating information and getting it to do what we want, we’re more interested in how we move data then we are in building cars apparently. So I think 3-D is going to be here to stay and I think it’s going to get into everything and if there’s another dimension or two that we find, I think we’re going to get into that too. As long as we can turn it into data, and good story telling, the better a story is, the more data it gives you that’s good data. The better an actor, an actor is, the more information you get from that actor. So, it’s all about gathering the best data all across the board, so I think 3-D is going to be the way to go.

Did you shoot in 3-D?

Steven: Yeah, we did shoot it 3-D.  Joe worked his butt off –
Jeff Bridges: Aren’t they going to do 3-D without glasses pretty soon.
Steven: They do have some screens.
Jeff: Already? Wow.

Hi, I don’t know if any of you are a comic con virgin but in any case, how important is Comic-Con these days to promote Tron 2 and I don’t know if Tron 1 was ever at Comic Con but how has the evolution of Comic Con helped this movie?

Steven: Yeah, you know, Comic-Con is very important for certain movies, in my opinion and Tron seems like the perfect marriage of movie and location to debut things. If you guys were here last year, you saw a test piece that we showed last year that we showed again today in 3-D. Last year it was just in 2-D and that piece of footage, we showed unannounced to this convention and it created a firestorm of excitement and interest and we thought it made sense to come back and we have every plan to come back next year because next we’ll actually have some real footage of the Tron world which we unfortunately didn’t have, as Joe mentioned, he just finished last week, so, you know, shooting the movie, but we also felt a certain obligation to come here because we kind of got launched last year here.

Throughout the years I’ve never seen anyone show something so early, so big that you showed today, do you think you had everything together?

Joseph:  I don’t know if anyone’s ever showed footage that they shot the week before at a venue like this. It was kind of crazy to cut it all together last week but we thought it would, you know, we wanted to give the fans something exclusive here and this seemed like the place to do it, so.

You had a lot of shots of live action series; did you guys use a particular system?

Joseph: We did. We used a brand new iteration of the Pace/Cameron system developed by Vince Pace and James Cameron. I think we’re the first film to use the full 35mm sensor cameras in a 3-D rig, the new Sony F35, so it’s a full aperture motion picture digital camera, which gives just a stunning image and in 3-D it’s even more spectacular so we built the cameras weeks before the film started shooting and we’re really happy with how the film looks.

For Garrett and Olivia, what was your entry point to Tron? Was it something that you watched growing up?

Garrett Hedlund: It’s kind of unique how I did it because I was working on my first film and I’d ended up watching Tron for the first time in Malta on a balcony in an alley, and you sort of have this slight kind of instinct at some point. There’s something really going on about Watchmen and about working with all the guys, I was really excited that way, I was really moved when somebody introduced me, I was kind of — it was a great time and even more sort of surreal to be working with all these guys, it’s crazy for me.

Olivia Wilde: Well Garret and I were both released after Tron was released so I was aware that because it because sort of a phenomenon in the culture obviously, I think I was first aware when it was referenced in different music videos, games, TV shows, I think T-Shirts, I probably saw a Tron T-Shirt before I saw the movie, and the first time I really watched it carefully was before the meeting with Joe. I admit, but I’m glad I did, it holds up, I mean right now that retro-funky look that it has is just as cool to watch, I think. It was revolutionary for its time, and we’re revolutionary for our time so it’s very, very exciting for us.

Garrett what was the most demanding of you, physically or for your character?

Garrett: Maybe next year you’ll get a better glimpse, but once in the Tron world, you know it’s fantastic and it looks amazing every time it’s onscreen especially in 3-D, but for two months straight of, you know, all day everyday, you being in this, you start forgetting what it was like film the film with just jeans and a T-Shirt, but physically you’re grueling just day after day and either the cable works or the certain stunts we had to do, you know the most minimal of stuff, can be very tedious and just taking one knee and holding your arms out straight is tough. It just looks great.

Steven, will it be another 30 years before we see another Tron?

Steven: Well hopefully not 30, that’s a little too long. I think it’s a generational thing. I think that part of the reason that Tron is happening now is because it feels like the generational-wheel has aligned and the planets are aligned now and so, yeah I think cyberspace and that technology will continue to evolve, I certainly hope so.

Retro is coming back into full swing, any nods to the original Tron, any sort of wings to the audience if you know what we’re referencing?

Joseph: Yeah, I think fans of the original film, there’s going to be a lot in there for them to discover. It’s a movie that even if you haven’t seen the original Tron, you’ll be able to watch this and get totally wrapped up in the world, but if you are a hardcore fan, there’s a lot of things hidden in the film that you’ll enjoy. Our crew worked very hard to make sure that everything kind of wind-up perfectly with the Tron legacy.

What about the new music on the sequel?

Joseph: Yeah, we mentioned downstairs, you know, the music was a very important part of the original so for this one we looked for a music collaborator that we thought was just as cutting edge today, and we settled on a pair of French-men named Daft Punk who are electronic musicians and they’re known mostly for dance music and pop music, but they’re both extremely bright musicians whose taste goes much broader than the kind of pop stuff, so we’ve been working with them for about six months now on doing the score for the entire film.

Jeff: And they’re Tron-heads, aren’t they?

Joseph: Yeah, they’re Tron-heads.

Jeff: They’re dressed like Tron people.

Joseph: Yes, it was the perfect marriage they dress in suits and helmets and they’re astatic and everything and it’s a perfect match for Tron.

Jeff: They were inspired by the original.

Joseph: They were, they’re huge fans.

Will you have some music from the original?

Joseph: We’ve taken bits and pieces and we were able to track down some of the original sound stance from the original film that I handed over to the guys so they’re using those and incorporating them into the new score.

One of the most important things in Tron is the change of generation. Which is the plan to move forward in Tron?

Joseph: That’s a great question. Frankly right now the — we would have loved to have shown more today because we finished shooting, but you know, at the same time, as proud as we are of the moving so far and the designs of the movie and where we tend to take it, we also believe that when we get to that place where we have stuff in our hands we’ll make the decisions then as opposed to making a decision now and follow that rule, we’re going to make the rules up as we go.

How many attempts were there to make a Tron sequel? And if that is the case, what is about this attempt that made you move forward?

Joseph: Like so many movies, it could be 10 or 15 years in development, we’ve had so many different inclinations of this, but as Steve said, this seemed to be the right time for it and the right story for it and the right vision for it and any one of those elements not being at the highest level, we weren’t going to do it.

What is the story going to be?

Steven: What we wanted do, as Joe mentioned a bit earlier, if you come to this movie, you don’t have to have any prior knowledge of the Tron universe or Tron mythology. This movie is a stand-alone entertaining movie. What we did do is we looked very closely at the other movie, obviously, and we talked a lot and we built and tried to build a mythology between 1982 and 2010, this movie takes place in 2010, but accepts that the history of what happened between 1982 2010 really happened, so I guess it heavily considers the original and it accepts the events of the original as true-fact and back-story for our story, but our story is a stand alone story.