Some of you may recall our Tomorrowland Young Frank and Athena costumes from last year's San Deigo Comic Con:

In an effort to showcase a new Tomorrowland-inspired cosplay annually, this Halloween our Athena will be making her debut as Casey Newton, with our Frank playing the antagonist as one of Governor Nix's nefarious audio-animatronics, Dave Clark.

We thought it would be fun to extend an invitation to all of our fellow Dreamers this Halloween: Join our Dave Clark Army!

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Our personal Tomorrowland collection includes two screen-used Dave Clark jumpsuits from the production of the film (one of which is currently available in the Tomorrowland Times Anniversary Sale, if you're in the market) and it occurred to us that this could be a very easy and inexpensive cosplay for fans to put together, with a high level of accuracy.

Here's our guide to assembling everything you'll need to have your very own Dave Clark killer robot costume: 

THE JUMPSUIT: The only truly essential item of this costume is the jumpsuit. The production used a pair of off-the-shelf coveralls made by Red Kap. The exact style is their Men's Twill Action Back Coverall, in the charcoal color. Thankfully, this identical garment can be purchased on Amazon.

You may recognize it, as the purchasing of this jumpsuit give you two costumes in one: Dave Clark from Tomorrowland, and Michael Meyers from the Halloween films! (We must assume this was a conscious decision by Brad Bird.)

The only modifications the production made to the off-the-shelf jumpsuit were the insertion of shoulder pads, the back pleats sewed shut, and slight tailoring of the legs at the inseam. If you're feeling ambitious, you can make these modifications, but the unmodified garment works just as well.

THE BELT: The original costumes in our collection did not include the screen-used belts (we're still on the lookout!) but based on screen reference, I'm 99% sure they used a tactical belt made by Uncle Mike's Law Enforcement. (This links to the Amazon listing for convenience, but the belt may be found at a discount elsewhere.)  Alternatively, any large black belt would work just as well. Feel free to customize, as the different Dave Clarks in the film had various sized pouches slid onto the belt.

THE SHIRT: The undershirts worn by the Dave Clarks in the film were a designer mock turtleneck from Patrick Assaraf, into which the production sewed a back zipper, as they often do for makeup purposes. I haven't been able to find any listings for this shirt online, but any dark gray or black mock turtleneck will work just as well. (Or even a high-collared dark t-shirt.) For the purposes of staying cool, you may even want to consider a mock turtleneck dickie!

THE SHOES: We haven't yet identified the screen-used, laceless black boots, but considering they fall beneath the hem of the coverall legs, any black shoe will do.

THE HAIR: The styling choices of robots in Dave Clark's army are short and clean for males and a single ponytail or bun for females. (Governor Nix is an equal-opportunity robot manufacturer, when it comes to gender!)

 This isn't so much a costume consideration, but it proper Dave Clark fashion, be sure to show those chompers -- the more maniacal the smile, the better.

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To accompany the costume, we decided to make a Dave Clark blaster prop replica. While we can't offer additional replicas for sale, the makers among you can 3D-print your very own Dave Clark blaster with this free 3D model!


That's it! The beauty of this costume is that, even going all out, it can be done for well under $100. (Not something you can say often for a screen-accurate cosplay.) Using items you already own -- or scouring your local thrift store -- along with the jumpsuit, and you'll be hunting Frank Walker for under $50!

Let us know if you'll be making your own Dave Clark costume, and be sure to share your Halloween photos!


To celebrate the first anniversary of the theatrical release of Tomorrowland, I've decided to offer a selection of original production pieces from my personal collection.

Over forty original production-made and screen-used items are now available for purchase as part of the Tomorrowland Times Anniversary Sale.


All items were acquired from a prominent Hollywood costume shop who routinely stocks items from Walt Disney Pictures. They have all been matched to the film's production code, and many have been screen-matched.

In addition to taking home a piece of the movie, every item sold helps to keep the lights on at Tomorrowland Times, the unofficial home for fans of Disney's Tomorrowland movie -- where Dreamers stick together.


All items have been listed with the option of submitting an offer -- which I encourage you to do if an item interests you. All offers will be considered. I want to give as many of my fellow Dreamers as possible the chance to own a piece of the film they love.

This is the first of many announcements we have planned for the first Tomorrow-versary, so stay tuned for more exciting updates!



We've joined the future on Instagram! Follow us for exciting announcements in the lead up to the first Tomorrowversary on May 22.


Following the success of their previous electronic music compilations Tron: Legacy Reconfigured and Star Wars Headspace, Walt Disney Records announced plans to release an album of Tomorrowland remixes curated by Grammy Award-winning producer Rick Rubin.

The album, titled Not That Tomorrowland, will feature EDM tracks from today's top dance music artists inspired by composer Michael Giacchino's score, paired with sound effects and dialogue drawn from director Brad Bird's film. 

On the star-studded tracklist, Baauer contributes "Nix's Mix," featuring Hugh Laurie's iconic speach from the film, while Kaskade and Flying Lotus tackle songs inspired by comic shop proprietors Hugo and Ursula Gernsback, respectively.

The compilation also features Tomorrowland star Keegan-Michael Key (under his Clarence alias) on "Audio AnimaPHONIC (feat. Jordan Peele)," as well as some homegrown Rubin production on "Athena Drop."

Not That Tomorrowland will be available via Disney Music Emporium on May 20, and on May 22 in stores. Fans can pre-order it here.

Not That Tomorrowland Cover Art (Click to enlarge.)

Not That Tomorrowland Track List:
1. Crazy Enough to Imagine - Kaskade
2. Human! - GTA
3. Optimyst - TroyBoi
4. Nix's Mix - Baauer
5. Audio AnimaPHONIC (feat. Jordan Peele) - Clarence
6. Jetpack Attack (feat. Barry Drift) - Claude VonStroke
7. Athena Drop - Rick Rubin
8. Monitored Oracle - Bonobo
9. Pröjekt T - Röyksopp
10. City of Clara - ATTLAS
11. Raygun Requiem - Flying Lotus
12. Tomorrownauts in Trouble - Shlohmo
13. EIFFEL TRIFLE - Rustie
14. Search Parameters - Galantis
15. Pin Poppin' - Breakbot


After more than two years of the adventures that inspired the creation of this site, it felt a fitting conclusion to finally sit down with Mr. Brad Bird to discuss his latest film in anticipation of its impending in-home release.

Having had a deeply foundational experience in the summer of 2013 during Walt Disney Imagineering’s “The Optimist” alternate reality game -- which established the universe of the film -- there was an incredibly personal investment that carried us through the release of Tomorrowland. Our anticipation was met and exceeded, as we were not shy about proclaiming the film to be no less than modern mythology.

This positioned us uniquely to sit down with Mr. Bird, not as journalists more interested in futile questions of his upcoming films, but as impassioned fans of his work.

Considering the general population’s box office apathy toward the film’s initial theatrical release, one question drifted to the fore:

What would your feeling be toward the Tomorrowland universe continuing on in other media?

I think it would be wonderful. Jeff Jensen already did that with “Before Tomorrowland.” Certainly there’s enough in the idea that Jeff and Damon first had -- and I was lucky enough to contribute to -- to take it in a lot of directions. You can hit any area between the forming of Plus Ultra to now. And, also, there’s time travel that could occur in any of those times. It’s a huge potential universe.

One piece of additional story content, originally intended to follow the Blast Fom The Past commercial as a piece of viral marketing, will be featured on the upcoming Blu-Ray: “outtakes” from a 1960s Mr. Wizard-style science show, hosted by Hugh Laurie’s comically out of place David Nix.

While good taste prevents us from expressing our opinion of Tomorrowland’s official marketing campaign, we felt this piece would have set the stage beautifully for the audience, and address a number of lingering questions expressed by many viewers. We were curious as to why the decision was made to excise the piece:

What contributed to the nixing of the Nix short?

I don’t know, I think that -- all this stuff gets to be a blur at a certain point. It was probably [marketing] felt that it stepped on something else or it didn’t fit into the tone that they wanted at that moment. I don’t remember, but my attitude was, “Well, it’ll be a good DVD thing.” It works on its own. Hugh is funny.

Though we had met Mr. Bird several times briefly in our extended stint as de facto Tomorrowland groupies, we hadn’t yet had the occasion to discuss his view of the experiences that formed a community of our fellow optimists:

How aware were you of the reaction to “The Optimist” experience in 2013?

Well, we were aware that it was catching a little bit of fire, which is good. We wanted to play with that, but -- if we could go back in time, to Damon and I and Jeff talking about this, our plans for how we were going to have fun with that were so elaborate. They were like a movie where everything is possible. 

There’s a little bit of a honeymoon period at the beginning of a movie where you’re like, “AND THEN YOU COULD HAVE A SQUADRON OF ROBOTS ATTACK, YOU KNOW, AND IT’S GONNA BE THE GREATEST THING EVER, AND EVERY MOVIE THAT YOU WILL HAVE EVER SEEN WILL BE INFERIOR TO THIS,” and there’s a tiny little period where that happens, and then you basically wake up the morning after with a hangover going, “Wait a second, this actually has to be produced, and it can’t cost four hundred billion dollars.” 

But we had very elaborate plans, most of which were Damon and Jeff’s. I’m just kinda sitting there going, “that’s interesting.” But they had all kinds of really cool ideas. And they were going to involve the Park, and we touched on it a little bit, but we never went as deep as we wanted to.

Did anything the fans did along those lines rub you guys the wrong way? 

No, we sort of felt like we were initially gonna do more with that, and then we were kinda tired and otherwise engaged. When it finally came time to do it we kinda felt slightly apologetic to the very overzealous fans. 

At this point, we had to interject and clarify his inevitable suspicions of our self-serving question: those “overzealous fans” were, of course, us.

In the three-months leading up to Tomorrowland’s release, we produced a piece of interactive fan-fiction called Stop Plus Ultra. Both as a tribute to “The Optimist” and its still-thriving community of players, which the Disney company seemed content to brush under the rug, and as a bit of rogue viral marketing we felt the film deserved.

For those that weren’t able to join in the adventure, here is a video walkthrough of the experience:

Our game’s finale culminated in players traveling to used bookstores throughout the country to retrieve a dusty old paperback that contained a chapter on the film’s fictional secret society, Plus Ultra. We created this entire book from scratch; perhaps one of the most esoteric pieces of fan-fiction ever produced.

Upon presenting Mr. Bird with a copy of this book, the man with whom we had asked to take a picture on several occasions now asked for a picture of us. You can imagine our appreciation for this flattering gesture.

Fueled by his openness, we entered into some of our lingering questions, which we assured Mr. Bird he had no obligation to answer should he find them too impertinent:

The “storytelling device” by which the film was initially introduced to the public was the fabled 1952 Box. Purported to be a relic discovered in “The Morgue” beneath the Disney Animation Building.

Though a fun device to curate the inspirations of the film, the origins of this box were soon called into question by astute players of “The Optimist.” The Plus Ultra “+U” logo seen on many “artifacts” in the box had been discovered throughout the alternate reality game. While the direction of influence could conceivably have flowed in either direction, it seemed unlikely that an authentic piece of history would be augmented with the logo of a presumably fictional secret society.

Despite any questions of the boxes legitimacy, the community at large was more than willing to accept the box as real. To engage in a sort of ritualistic dance for the purposes of preserving the the experience. Early on, however, the film’s marketing took a sharp turn away from the box concept:

It seems as though there was a point at which the 1952 box was abandoned.

That was kinda me that gave up on the box a little bit. Damon and Jeff could do refrigerator boxes. They could do the biggest box ever and have fun and spin theories and do that forever, and I’m just sitting there going “I’m never going to be able to pull this off. I’m going to be the guy that blows everything you do by saying the wrong thing. That shatters whatever illusion you’re trying to do.” And I’m just saying, “I’m just going to make the movie, okay? You guys figure out this alternate universe.”

Interestingly, the only point at which the curtain was fully pulled off was in the end credits of the movie. 


“Plus Ultra Logo Designed By Brad Bird.”

Oh! You mean if I would have taken that credit off? You know what, that never occurred to me. Oh, damn that credit. Damn that credit! Oh, crap. Oh, man. Now I feel terrible. I feel like the terrible egotist. (In a self-mocking voice) “You must put that I designed the Plus Ultra logo.”

While we take no pleasure in being the ones to bring this to Mr. Bird’s attention, we also can’t help but feel that the revelation of the box’s true origins -- though unintentional -- allows for a deeper appreciation of the craftsmanship that went into this story world.

These incredible pieces weren’t merely curated by the production, many were fabricated entirely. (There are even Wikipedia edits referencing Plus Ultra that date back to September of 2012.) In our eyes, the truth of this fabrication only serves to further cement this film’s status as a truly original work by a group of impeccable craftsmen.

Emboldened by his honesty, there was one more potentially sensitive topic we were compelled to broach with the director:

Would you consider the theatrical release of the movie your director’s cut?

Yeah, I would. It doesn’t mean that it’s exactly the movie I set out to make. But, you do your best shot at it, and then the movie has its own things in mind. And I’ve tried fighting a movie, and saying, “No, this is what you are.” But if you do that, you don’t wind up with anything good. 

You have to play tennis with the movie you think you’re making. And that movie always answers back. And you say, “THIS is what you are.” Then it goes, “I’m THIS.” And you go, “No you’re not. You’re this.” And then pretty soon you come to some sort of agreement, which is between the movie you set out to make, and the movie that it wants to be. 

So the movie fought you back, not the studio necessarily?

No. Movies are not remotely an exact science. You’re dealing with, I mean if you thought about it in a rational way, like, “here is your assignment: you’re making a movie. What is my mission? Your mission is to figure out what people of all ages, in every nationality, and every life experience will like, two years from now, or three years from now. That’s your goal. Okay, go.” And you just go, “AH, that’s impossible!” There’s no possible way for me to do that. All that does is send me into a fetal ball in the corner. 

What you CAN do is go, “Your assignment is to make something you would like to see.” Then that becomes simple, and you go, “Okay, I can do that. I don’t know how many other many people are going to agree with me, but I can make something that I want to see.” 

Then you go out, based on your best guess of what you’re trying to go for. And then you do it. And then you look at it. And it tells you, “This part works, this part is not exactly -- you thought it was going to work. It doesn’t work.” So, what are you going to do about it? Are you  going to just let it not work? Or are you going to try to find a way to work with it? 

And sometimes you wind up with something that’s better than what you set out to do. And other times, you’re just trying to go, “You know, I don’t know that the thing that I imagined actually ever would work. My imagination was faulty.” 

This candor about the filmmaking process was refreshing, especially considering the rumors that persisted about Disney taking control of the film away from Bird.

Hopefully this conversation has illuminated many questions for curious Dreamers. The truth behind these stories is always more dynamic, infinitely more complex, and tends to defy our often jaded assumptions that conform to industry stereotypes. The convenience of “the filmmaker vs. the mega-corporation” narrative betrays the very real internal conflict between a group of artists and the piece of art they are trying to create.

It’s clear that, in the creative battle to bring Tomorrowland to the screen, Brad Bird, unsurprisingly, opted for the optimistic path.

From the seeds of this concept, to the creation of the 1952 box; from the beautiful prose of “Before Tomorrowland,” to the film’s final metaphorical image, I find the ambition on display staggering to behold. A testament to a group of artists that dared to look “further beyond” the screen. Let us hope its cross-platform authenticity inspires the next generation of storytellers as it has inspired me.

See you in the wheat field.