If the film hadn't been filmed in 3D, might they have stuck closer to the original character designs?

Are all programs in the digital world analogous to programs like Word, or Photoshop? Or is it not so clearly defined and we should stick to thinking of it as an allegory?

Did they come up with an in-universe reason for the change of visual style away from complex circuitry to the more understated design, or is it purely an artistic choice that wasn't addressed at all?

How did Tron feel about Flynn moving him to this other system and taking him away from Yori? (I know it's a seriously geeky question, but I've been curious)

How are the Grid games ever not lethal? For instance, in Betrayal Tron talks about programs not being derezzed in the gladiatorial combat. How would they throw discs at programs and not kill them?

Sorry if these aren't the type of questions you were looking for. I'll try to think of some more "making of" type questions. order abortion pill http://unclejohnsprojects.com/template/default.aspx?morning-after-pill-price where to buy abortion pill

For Lisberger:

The ALIEN series established itself as a way to introduce then-young, fresh directling talent to the US, inclusing Sir Ridley Scott, James Cameron, David Fincher and Jean-Pierre Juenet. Given the potential for the universe to constantly expand and evolve, if the TRON series continues after this film, would you like to see it continue to be an experimental showcase for young filmakers, as it was for yourself and Joe Kosinski?

You shot a demo reel to sell Disney on the movie. Joe shot a demo reel to sell Disney on the movie. Even assuming the movie is a smash and a third film is demanded, would you like to see the FX test become a fun "hazing" for any director that works on Tron?

Any chance we'll ever see an Animalympics DVD release in the US?

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For Bailey:

In a lot of ways, Disney was a trendsetter when it comes to family-friendly genre films that were made to respect mature sensibilities, especially with THE BLACK HOLE, THE WATCHER IN THE WOODS, SOMETHING WICKED THIS WAY COMES and TRON. These films in a lot of ways were ahead of their time. Do you think the time has come for Disney to lead the way in these fiction areas, especially with its acquisition of Marvel?

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For Kosinski:

Why do you think FX and advertising directors such as yourself, DISTRICT 9's Neill Blomkamp and MONSTERS' Gareth Edwards have been able to break through so effectively as feature directors, and what lessons can be learned by Hollywood from the success of their films?

Tell us what it was like the first time you screened the VFX reel for the studio heads, how they reacted, and did that reaction change after they heard the Comic Con response?

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For Simon:

Syd Mead is of course a huge influence on your work, but when you were hired on for the project, did you consult with him? Did he give you any advice on the project?

What process do you go through when coming up with one of your designs, and how much revision do you do?

What do you think is the coolest design you came up with that DIDN'T end up in the movie?

I would like Tron Fanatic's statement (I edited into the form of a question) asked of Liseberge. Kosinski, and the writers of TL.

Tron was a movie with elements that went deeper than just a sci-fi adventure. We have enough "idiot-proof" sci-fi out there these days - in fact I'm pretty sure that's all there is. But I can't see how Disney could do anything BUT stupify the film to death in order to fit the "widest demographic possible" formula that every single film in existence now has to adhere to. Were you the director, producer and writers, urged into this direction by Disney execs for Tron Legacy?abortion pills online abortion pill online purchase cytotec abortion