Source Code, a sci-fi thriller released last week, is based on the premise that science will let people really get into each other’s heads. The eponymous technology, the trailer tells us, is a computer program that “enables you to cross over into another man’s identity.” What results is a scenario that’s part Matrix, part Groundhog Day: lugged into the Source Code program, Jake Gyllenhaal—er, Captain Colter Stevens—lives through the last eight minutes of another man’s consciousness, just before the man’s train was blown up in a terrorist attack, in an effort to identify the bomber. (Stevens’s body, like Neo’s, stays in one place while his mind is elsewhere.) When the first run-through fails to turn up a culprit, Stevens relives those eight minutes again and again, having a different experience—new conversations, new sensations—each time.
Could something like that ever happen? While much of the technology in Source Code will remain purely fiction, says University of Arizona neuroscientist and electrical engineer Charles Higgins, modern science may eventually let us take a peek at, and even play around with, someone else’s consciousness. Among the movie’s technological inventions, Higgins says, “the idea of monitoring and influencing consciousness with a physical neural interface is the most plausible.”
Here’s the extended version of our interview with director Joe Kosinski from the December issue of DISCOVER, in which the first-time feature film director talks about reinventing the light cycle, building suits with on-board power, and how time passes in Tron compared to the real world.
Why return to Tron, and why now?
The original Tron was conceptually so far ahead of its time with this notion of a digital version of yourself in cyberspace. I think people had a hard time relating to in the early 1980s. We’ve caught up to that idea—today it’s kind of second nature.
Visually, Tron it was like nothing else I’d ever seen before: Completely unique. Nothing else looked like it before, and nothing else has looked like it since—you know, hopefully until our movie comes out.
How did you think about representing digital space as a physical place?
Where the first movie tried to use real-world materials to look at digital as possible, my approach has been the opposite: to create a world that felt real and visceral. The world of Tron has evolved [since it’s been] sitting isolated, disconnected from the Internet for the last 28 years. And in that time, it had evolved into a world where the simulation has become so realistic that it feels like we took motion picture cameras into this world and shot the thing for real. It has the style and the look of Tron, but it’s executed in a way that you can’t tell what’s real and what’s virtual. I built as many sets as I could. We built physically illuminated suits. The thing I’m most proud of is actually creating a fully digital character, who’s one of the main characters in our movie.
What did you keep from Tron, and what evolved?