Direc­tor calls it ‘orig­i­nal’ in for­est of se­quels


with an ap­ti­tude for science.

Her be­lief in the fu­tur­is­tic land leads her on a jour­ney to Frank Walker (Ge­orge Clooney), a for­mer boy ge­nius once en­ticed by the prom­ise of To­mor­row­land but now ex­iled and bit­ter.

“I loved how op­ti­mistic it was,” Clooney says in an in­ter­view.

“I loved the idea that it looked at the world say­ing ‘the fu­ture is not what you see when you turn on the tele­vi­sion and you get de­pressed and you’re in­un­dated with it’. It doesn’t have to end that way.”

Not that the movie doesn’t touch on the real world cyn­i­cism that many­may feel when pre­sented with an up­beat, Dis­ney-fied view of a per­fect world that can be achieved through the power of be­lief and imag­i­na­tion.

“You have to ac­knowl­edge the ele­phant in the room,” says direc­tor and co-writer Brad Bird, who called the film’s cyn­i­cal mo­ments “an un­billed char­ac­ter”, specif­i­cally har­nessed through Clooney’s char­ac­ter.

Made for an es­ti­mated $190 mil­lion, ac­cord­ing to BoxOf­ficeMojo.com, the Walt Dis­ney Co fam­ily film is in­spired by the To­mor­row­land at­trac­tion at Dis­ney theme parks, cel­e­brat­ing sci­en­tific achieve­ments. It pays homage to Dis­ney’s own vi­sions and harkens to 1960s and 1980s ideals of the fu­ture, with jet packs and tele­port­ing. But the film ar­gues against putting all hope into just one vi­sion­ary. In­stead, it ex­alts the idea of com­ing to­gether.

“It is danger­ous to put all of your faith in (one) idea or those peo­ple, but it’s re­ally good to em­brace all of the good you can get out of it,” Clooney says.

Sand­wiched be­tween big­bud­get fran­chise films such as Juras­sic World this sum­mer, Bird says To­mor­row­land is “an orig­i­nal in a for­est of se­quels”.

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