Matrix Revisited The (2001) CD2
This is one sequence l’m running down with the guns.
They’re literally setting off a thousand bullet heads...
...and moving five cameras. I love that moment...
...where sirens go off.
Here we go. We gotta shoot now and you gotta hit it.
We needed a foyer for an office building, like a mausoleum.
They wanted to run along the walls.
So you obviously had a lot of wire work.
You needed a set you'd access from the middle...
...with wires or lower parts.
Please remove any metallic items you’re carrying. IKKKeys, loose change.
He needed clothes that would be practical.
And he had a lot of guns to carry and to conceal.
I wanted him to have a bit of a gunslinging attitude.
-Was I late? -Cut.
-And then you just keep rolling. -Ready? Action!
We wanted a specifically stylized approach to destruction.
Basically we wanted to be able to have...
...these pillars be reduced to apple cores.
Okay. Trinity time.
I understood something very important that day.
The pressure that I and Keanu had on our shoulders.
I had never felt that before.
One, two, three!
I learned running along the wall. But the cartwheel is hard.
I had never gotten it right. I'd just started to get it right.
I started to get it right. The stakes were higher.
And then I hurt my ankle.
Oh, no! Oh, no!
I remember thinking...
... "Oh, my God, l’m not gonna-- l’m down.
But I can't be down."
Then I was told that it was just one take.
And I was like, "No matter what, I'll be able to do this.
No matter what, I'm gonna do this." It was very heavy.
-l’m leaning forward? -Yeah.
-Go! Yeah, right. -Great!
To see Keanu do the quadruple kick....
They've practiced for months, and to see it work, we were--
It was a great moment.
-Yeah! -Forget the handstand.
-Ancient history. -Be here now.
You gonna rehearse?
-You want to? -I haven't kicked with the guns.
Let's check your frames. Reeves, reel him up.
We'd do it. It wouldn't be good enough.
They'd talk and say, "Could you get like this?"
We'd try it again. It's the way it should be.
You try it, look at it and talk.
IKKKnow when to leave it alone or keep going.
I tended to not know when to leave it alone.
-That's fine. -No, hands.
-But it's okay, right? -Good take. IKKKung fu style is good.
Because I want a super take.
Or what I call super perfect.
He was the last to say:
"This is the best we’re gonna do. Let's move on."
-You’re gonna do better? -Actually, you have a good end.
Hold on. Good.
-Wanna try one more? -Yeah.
Okay, let's try one more.
-He wants to try one more. -You can do two.
-lf you do one, you do two. -Two more.
He's a perfectionist. He felt there's something...
...special about the experience, the whole picture.
And he wanted to get it right.
IKKKeanu wasn't satisfied, it had to be super perfect.
-What a day it's been. -Crazy day.
It's been eventful.
Eight days till dojo.
Eight days, that's an eternity. That's an eternity.
The idea was a traditional Japanese-style building...
...that influence, set up for fighting.
The dojo had been built well before we were gonna shoot.
And because of the injury to Keanu's neck...
...we couldn't film that set.
So the actors had rehearsed on it for a month beforehand.
This is the moment you've been waiting for!
Actually gonna do this.
-So weird. -Day one of shooting.
-Day one? -You all right?
-There he is. -All right.
All those poses that you do...
...in kung fu have meaning and they are very specific.
It is a dance and Wo Ping is exacting.
And I think a lot of times...
...the brothers were looking to Wo Ping...
...for his approval on whether we'd executed it right.
Keanu and I were very much...
...in sync with each other by then.
We'd practiced for eight months.
But we hadn't really gone full out until we got there.
We were concerned about that scene, that they'd get hurt.
That they'd kill each other.
You could tell the actors were into it.
And Keanu's little ad lib of that thing...
...which we didn't make up until that moment.
The kung fu zoom on Keanu.
Magic things that happened.
We did 21 takes of the 3 kicks.
IKKKeanu goes up, kicks me three times.
Because he hadn't been up on a wire a long time...
...there's no rehearsal time for him.
Should I try and jump up or go straight?
You go straight.
He wasn't prepared for that.
It's hard to see him be so hard on himself.
But you have to leave room for people to do what they do.
And he's not always like that.
But there are times your heart breaks.
You wish he wouldn't be so hard on himself.
That was better.
I couldn't get the kick.
I was in this harness and I was mad, screaming.
"I just can't fucking do this now.
We'll shoot it on Monday."
-Good kick, right? -Yeah.
I don't know what to tell you.
Got there on Monday.
I think it was three takes. Triple kick.
-Good power. -lt was good.
-Happy now? -Yeah.
They had to be a lot of room for Morpheus...
...to be able to do this extraordinary eagle-flying kick.
They used a heck of a lot of light here.
Incredible amount of light, high-speed cameras.
There's this moment Laurence had...
...where he comes over to counteract. IKKKnocked him back.
We could tell Laurence...
...was into this thing. He comes at him.
It was surprising that we hurt each other.
We bruised each other up pretty badly.
When we were training we had no contact.
Then we needed more power.
We weren't fooling.
We'd been practicing for eight months...
... but we hadn't gone full out until I think we got there.
I was surprised by what happens...
...when you smash arms with somebody that often.
There's a sequence where I fly over him...
...in front of him and he hits me.
I got a pretty good sternum shot.
After the dojo scene...
... Laurence and Keanu were covered in bruises...
...and scrapes and burns from the mats.
Harness burns from the ropes from the wire work.
I just wanna flip over and keep my hands in.
And I wanna kick back and tuck.
He's leaving from the spot that l’m stepping to make the swoop.
I know what you’re trying to do.
I’m trying to free your mind, Neo.
In the subway sequence Larry and I got sick.
-We were in down coats in the summer. -lt was a cold set.
What looks like a simple scene just took forever.
The plan was to go to a real subway station and film.
When you see what had to happen...
...it was obvious that we couldn't...
...shoot in a real subway.
The set was part of an old wheat storage facility.
There was a train track they built a subway station around.
-You wanted him to start lower. -Yeah, lower.
The railroad was fun except...
...once you’re in a wire and you’re stuck in your harness...
...for a long time the harness rides up.
It's gotta be pretty tight. I remember it squeezing my kidneys.
If you do it right, they’re fun.
If you do them wrong, they hurt.
-You’re empty. -So are you.
Go easy. Relax.
Are the guns at--? What are we doing?
-Okay. -He's right here.
Where do you want these?
-Just go up to like an inch away. -Oh.
So don't put it to his temple like that.
Yeah, that area, that's good.
What does it look like against his head?
-Just do that. -Okay, that's pretty good.
-You’re empty. -So are you.
-Good one. -Cut.
Shooting the subway scene we had to really contact each other.
There was major contact happening.
After the dojo, I realized...
... how we train and film is different.
You have to have contact. We had to start hitting each other.
You couldn't just fake it. You had to hit.
I'll do this. It won't show up as much. Oh, no, it's okay.
You all right?
Taking the hits is more difficult than delivering them.
You feel like: "l wanna get in another hit in-between."
I found that more difficult.
When the wire hits you, if your feet are higher...
...it'll make you spin.
Have your feet lower.
I got to work with a great stuntman, Chad Stahelski.
When I speak about the fights I think of it as the two of us.
Chad comes in for situations you don't put an actor.
You don't put an actor slamming into a wall...
... upside down, dropped 10 feet.
Chad did the upside-down hit.
After that he had to do the ceiling hit.
Smith is on top of him.
What happens when they came down, the other stuntman--
Chad was on the bottom...
...and landed on one knee and his knee broke.
He tore ligaments in his knees...
...dislocated his shoulder, broke some ribs.
Three, two, one, fire!
They had this contraption, the monster...
...which was a hydraulic air pressure.
It drove people into the ground.
So Darko had to crash into this newsstand.
That was very scary for everybody.
We thought he maybe might have, you know...
... been badly injured or even killed.
We were really worried.
That was a horrible evening for everyone.
Fortunately, toward the end it was Larry's birthday...
...and his parents came.
And the fog lifted for a couple of days.
We managed to get out of there.
I can get up and wipe, coming up. Get up, look at him.
Yeah, get up, look, wipe.
The wipe takes you straight into the--
Come on, who's not fucking standing in the aisles at that point?
I sat in there thinking I was in an office overlooking Sydney.
There was this fantastic cyclorama of the Sydney skyscape.
It was completely real...
...except it wasn't, like the movie.
It's cool to stand on that floor and walk from one office to another...
...and never lose sight of the translate.
Biggest translate in the world. Interested in a stand like that?
Is it the biggest?
The biggest one-piece translate in the world.
We did computer-generate the translate so that Sydney...
...was not identifiable.
A few buildings are not where they really are.
We’re covering the Opera House and Sydney Harbor Bridge.
The movie takes place--
We’re not saying it's not Sydney, it's an unnamed city.
I'd like to share a revelation I've had...
...during my time here.
Smith, prior to that, is totally in control...
...cold, doesn't show much emotion, if any.
And during that scene he starts to feel angry and frustrated...
... because he can't get the information out of Morpheus.
I hate this place...
...this zoo, this prison.
He's starting to smell things...
...to be a real person, and he doesn't like it.
He doesn't like feeling emotions.
I can taste your stink.
And every time I do I fear that I've been infected by it.
By all intents and purpose he'd be...
... partly human, I suppose, partly real.
Morpheus is aware of everything.
Or at least he's struggling to maintain his awareness.
-Hold your mind. -Hold my mind in a place--
So I've basically shut my mind off.
Or I've drawn a curtain from the information.
There's another part of me that was really...
...sad that I didn't have any dialogue...
...so I'd have a conversation with Smith so I could say...
... "I played this scene with Hugo Weaving!"
But I did play the scene with Hugo Weaving.
Find them and destroy them!
-And don't forget your line. -Fine. Yeah.
When the sprinklers went off...
...we were all drenched, things were floating.
It was a kind of a dangerous, live set.
But it was great fun. I enjoyed that week.
We had very difficult issues with the water.
The studio also was concerned. "We need the water."
The boys felt the water was crucial.
When the sprinklers came on in that set...
...the water that came out had to be hygienic.
Because there were upwards of 100 people...
... up on that roof at times...
... breathing in the water coming through the system.
It all had to be kind of sterilized...
... before it was pumped back in. It had to be heated.
There were many little elements that went into it.
And you forget about the helicopter coming down.
That entire helicopter rig...
...which was a full-scale helicopter...
... not a real one, but made lightweight...
... had to operate on all axes and lift off and take off.
The blades were put in later.
-Come on, take us up. -You in there tight?
I’m in there tight, snug as a bug in a rug.
Or you want me up like this?
That's the look.
It was weird. I realized it was all rigged with explosives.
I had a moment's pause there.
I kind of went, "Hey!
Who's responsible for this?" You know?
Steve Courtley and his crew built into the floor...
...350 air-controlled nozzles, which would...
...when the set was filled with water...
...simulate the gunfire from Neo...
...who was in the helicopter outside the window.
And then you had a shootout of the glass in a particular pattern.
As you arc around that, you arc around the wall to get Jones.
There's a moment you shoot, they cue the window--
The glass had to be blown out.
To make it safe for the actors, it had to be blown out...
... by peashooters blowing sand. Hundreds lined up out of frame.
He's not gonna make it.
It's ironic, to achieve what seems...
...a simple thing to do, to fly a helicopter...
...down the front of a building and rescue someone.
It's been over six months to actually achieve that whole element.
At the beginning we shot on a government roof.
Now we’re near the end of the film...
...and we’re still shooting that sequence.
We are trying to get the Neb finished next week.
There's always a final last-minute adjustment.
Everyone was excited to walk on the Nebuchadnezzar.
That was a cool day.
It was exciting, like going into a new thing.
It was sad too since we had to say goodbye to the wire team.
The Neb, it's crawling with sort of Geoff Darrow...
...technology, which has this organic quality.
It's sort of industrial...
...gadgetry jungle, cables and everything.
It's built long before the movie takes place.
It's an old ship. It's been around forever.
It's been held together by the loving care of the crew.
You want it to look old and put together, and not...
...Star Trek-y where they’re components.
It had to look like they’re putting it together...
... using pieces from this and that.
They really tried to bring the guts of the spaceship...
...out into the spaceship as opposed to burying it behind this...
... normal form of a style that you might see in spaceships.
Everything is considered, every--
Even the wires in the Neb, there was...
...the blue and red wires, arteries...
... representative of this kind of...
...Iiving tissue in this steel ectoskeleton, you know.
...of machine and man...
...everywhere in the picture.
That's not even numbers, it's weird. It's almost become characters.
-That raindrops on a screen effect. -Oh, yeah.
There's a lot of work that goes into finding old dentist chairs...
...from the 1920s which have inspired the ecto-chairs.
Take it down to the ground.
And I loved the chairs. I loved the whole...
...the brutalness of that needle that goes in your head.
The crudeness of it.
You wanted to know what the matrix is?
The masculine side of Morpheus is evident in the matrix...
...and his feminine side is evident in the Neb.
Try to relax.
I wanted him to feel like a den mother, almost.
I love you.
Cut, there's a fire--
I just think that she's just more, maybe feminine even...
... because she's really kind of warrior-like in the matrix.
In the Neb she's more of a woman, I think.
As soon as you see that thing go, say, "Now."
My hand is on here, and I pull this out.
I say, "Now" and then push.
-ls it before the "now" or after? -After.
After? How does she know l’m back?
She's connected to you deeply.
It's not when I open my eyes? Why not?
Because we wanna see your eyes open in darkness.
If she pulls the plug, how does she know l’m back?
-ls there any cue from over the phone? -She knows!
Rehearsal. And action.
I just wanna say this is disgusting.
We’re proving our love for babies here.
Geoff was in France drawing...
...the power plant. When Larry got the first fax...
...it was scarier than he'd imagined.
They wanted to get away from...
...that stainless steel, very science fiction-y look.
And to make it look kind of dirty and used and ugly.
Before we actually shot the part, we had shot it about seven times.
The stunt guys got inside to see how the breathing mechanism worked.
The special-effects guys tested skin.
The prosthetics man had to deal with...
...the little pieces the prop guys made.
-Cold? -Just a little.
I feel bad for Darko who did some of the tests.
They didn't heat the goo at first, and he had hypothermia.
Let's get him out of there. Thanks, Darko.
When the actor got in, they knew to heat it up.
Give him another one for his arms.
You want my hands to go out?
No, not that much, but out is good.
We were shooting the end of the movie...
...and he'd lost a lot of weight and he shed another 15 pounds...
... by the end of the pod sequence.
I wanted to look very emaciated when I came out of the pod.
I think we got that effect.
He shaved everything, you know, his head, his eyebrows.
I found that when I had...
...conversations with people, they'd be like, "Uh-huh"...
...and they wouldn't look at me. It was weird.
It kind of felt like we just sort of...
...crashed to the end, you know?
It wasn't a graceful end. We just tried to get everything done.
Thanks folks, that concludes principal photography on The Matrix.
I remember feeling very tired...
...and very relieved at 1 :01 in the morning...
...when we wrapped, which was Neo's number.
-Yeah, you’re done. Yeah. -Yeah.
I remember walking from work and they said it's a picture wrap.
And it's so intense, it was crazy.
And I remember saying to myself:
"I will never care this much again." It's too painful.
It took me months to get over. People said, "Let it go."
I was like, "I can't." It's such an amazing experience.
Well, we had been shooting for 25 weeks, 118 days.
It's like, "When are we starting? When are we supposed to finish?"
And I'm just committed for all of that.
I can't really break it down. It has to do with Apocalypse Now...
...the other never-ending film.
You don't expect any film to be as successful as The Matrix was.
I guess we hope every one you work on will, because...
...you kind of die a little bit every time you finish a film.
Editing is a cumulative process. It's about trying different things.
Taking two steps forward and one step back.
Being not glued to your ideas, being open to what the film wants to be.
There's always a core to work around.
There's a moment in each scene where...
...there's a shot that's so clearly designed as a key spot.
The scene leads up to that point, or comes down from it.
It's something to work around.
Typically, you show up and there's only one shot.
That's the only shot they want, and you look for it.
You can spend a long time looking, more than most crews are used to...
...Iooking for that shot, getting it right.
But it's time efficient. There's no other coverage.
This shot leads to the next.
And you only have to shoot what's being used.
They just shoot what they need and also...
...it's fun to watch because you see...
...what the scene will look like.
We got effects companies in Sydney and the U.S. Manex is the main company.
We had two companies, Animalogic and DFilm that also contributed.
I gave Manex all the creature work and bullet time type stuff.
I gave Animalogic the big climatic code hallway...
...and the exploding agent.
DFilm tended to do difficult compositing.
Like when Neo jumps off the skyscraper...
...and they did the helicopter crash.
The studio tried to take out the helicopter scene.
They thought we didn't need it.
We were passionate about it, and they eventually agreed.
The helicopter crash is one of the money shots for the film...
... because it's so complex.
It's really trying to be the definitive action sequence.
That's our interpretation of it.
The combination of miniatures with live action with stunts...
...with CGl, it's just a very big, big sequence.
We wanted the glass to explode in an ever-expanding circle.
To figure out how to make the glass do that, and to figure out...
...what glass and explosives to use...
...it probably took three months of heavy-duty research.
This was concentric rings put behind the glass...
...with pyro charges triggered to a certain timing.
We built a 25-foot...
...glass wall to scale these windows.
We built a quarter-scale helicopter...
...that was mounted to a large crane arm.
That was the very first thing that we started doing in 1996.
And that was one of the last four shots that we finished in the movie.
And you’re working the entire time towards making it perfect...
...and there are a million little pieces that were invented...
...to make that make sense.
We had virtual backgrounds, which were ways of...
... photographing the real world with still cameras...
...and extracting from stills both shape and texture...
...and then making a CG construction out of that.
Now we can move your virtual CD camera anywhere.
It's used to make backgrounds...
...for shots where we couldn't get with a camera.
With a camera you'd see:
Camera track, rails, rig, crew, people.
This allows us to...
... build the whole set artificially.
Everything begins with the simulation.
All the math for how to shoot it works backwards from there.
In this particular rig...
...there are 120 cameras and two motion-picture cameras.
We analyze what real frames we have...
...and we can create new frames of moments in between...
...the captured frames to make moves longer...
...or stretch them out or do time compression.
These are tests trying to find the texture of the pod.
They whole look of the computer- graphic creatures’environments...
...is based on undersea life.
They’re light absorbing and have scattery light and wild colors...
...and things like that which no other creatures to date really have.
Everything else is out in the sun or in traditional lighting.
How about--? Let's see some pods.
This is all computer graphics, it's like the babies...
...grow inside there and it's sort of like...
... Big Daddy Roth meets Jacques Cousteau.
Just bring the animation until like there and then cut it off.
So you see, it's all fake. No real babies, totally harmless.
I believe in film as a visual medium.
I think sound effects and music...
...are incredible, powerful tools.
-Easy, Neo. Easy. -Get this thing out of me.
Get this thing out of me!
Don't touch me!
Stay away from me!
But I think ideally the film should stand up on its own.
So l’m a big fan of...
...the first cut, keeping the film raw and naked.
So you can watch it and get some rhythm from it...
...without music and effects.
-Easy, Neo. Easy. -Get this thing out of me.
Get this thing out of me!
Don't touch me!
Stay away from me!
Music and effects will always make the film stronger.
But you don't want them to become a crutch.
Sometimes you need that crutch.
I’m a sound designer, supervising sound editor.
I’m responsible for coming up with all noises.
This will feel a little weird.
There are a lot of definitions of that movie about reality.
I had to define the nature of sound that defined reality or non-reality.
No one's familiar with the sound of a squiddy.
No one's familiar with the sound the Neb makes.
There was the incredible shot where the camera is pulling over...
...the baby that was in the pod...
...and it's filling up with water and then the valve closes up.
As it came up, they made this "shunk" sound with their mouths.
It's like they had the sync track in their head.
It's a good guide as to what it has to achieve.
That thunk was about 45 different sounds all put together.
Everything from plunger sounds, to whacking a tire really hard.
There's all kinds of crazy toilet type sounds in there.
But in the end it had to just be "thunk."
We recorded for all of the fighting, whooshing.
In the Hong Kong films it's usually fairly simple.
We went to technical junkyards and found things that made that sound.
We brought it all in the studio and made every kind of whoosh.
We pitched it up and down and processed it and created...
...Iiterally thousands of face and body hit sounds...
...and arm whooshes and leg whooshes.
Trying to always have that very earthy, very brutal...
...very musical quality that Hong Kong films had.
But I wanted to give it a kind of articulation...
...that they never had time to put in.
It wasn't until I saw the movie...
...that I saw how important the idea of reflection was...
...to the Wachowskis.
Almost every scene has some aspect of a reflective subtext.
When Trinity encounters Agent Smith...
...she sees him in the rearview mirror of her motorcycle.
When Laurence Fishburne is onscreen in his dark glasses...
...you see Neo reflected in them.
The scene with the spoon always has somebody's face in it.
I was able to take that ball and run with it...
...and use reflections in the orchestra.
One section against the other or just a contrapuntal idea...
... placing one on top of the other, representing...
...the reflection we see onscreen.
That was really the key to it for me.
We all pretty much agreed...
...that an organic, orchestral and choral...
...approach was best for the music.
And then we'd enhance that with additional...
...synthesizers and sampler elements.
And then, whenever sequences had...
...the protagonist, we'd emphasize the orchestra.
When the machines were taking over, we'd emphasize the synthesizers.
It was seamless going from the underscore to songs...
...due to the sensitivity of the directors...
...and music supervisor, Jason Bentley.
The process was a combination of...
...what the Wachowskis liked.
They had the core interest of Rage Against the Machine.
They couldn't do without it at the end.
Prodigy was also important.
They’re watching you, Neo.
-Who is? -Please just listen.
That was a natural connection.
Some of the concepts in the film, very much matched this...
...future-minded mentality that many producers...
...in electronic music subscribed to.
There's this record on there, Rob D, "Clubbed to Death."
It's a surging, thick, hip-hop...
... break beat with strings.
Basically, that's a record straight out of my crate.
It was one of those gems no one knew about.
It was just one of those gems.
And you play it at just the right moment.
For a DJ they’re like secret weapons.
And then we began to kind of just get all done...
...and it was as usual a rough ride...
... because there were missing visual effects, and we had TV spots...
...and a trailer, and the visual effects weren't ready yet.
I mean, it's always a whole, you know...
...tension-filled moment when you prepare to release a movie.
In the last week of mixing, I took out two frames.
Because the effect that came in wasn't what I imagined.
I figured this is the end, this is what's gonna be there forever.
I wanted it to be right.
Me and Lorenzo sat down and they showed us the picture...
...and we were so just out of our minds.
I was completely blown away by it.
It was-- It exceeded my expectations.
I knew we were going to be a success.
The first time I saw it with an audience was a thrill for me.
Excitement ran through the audience. I felt them going with it.
I felt them following the beats that we put in there.
There was applause halfway through and a standing ovation at the end.
I was blown away with Carrie-Anne's-- The whole opening sequence...
... because I hadn't seen any of that...
...and what a great opening it was, and how Trinity worked well.
I'd never seen myself in a movie before, and I had a hard time.
All I could see was everything I felt I did wrong.
I just was like cringing at everything I said.
I had to cover my eyes.
Two things happened.
First, I remembered all the philosophical...
...and spiritual lessons layered throughout.
I had completely forgotten about that.
And Morpheus scared the shit out of me.
It was more suspenseful than I thought.
I found it very moving.
I was just amazed that they did what they set out to do.
We heard stories about people going more than once...
...twice, three times, nine, ten, eleven times.
And then some of the E-mails they were getting...
...and some of the responses onto the film's web site.
Then when we heard of people dressing up as characters....
I didn't expect that at all.
I ran into people who were complete Matrix freaks.
The stuntman I just worked with who recited every line of mine.
I couldn't believe they'd seen The Matrix so many times.
What was really gratifying to me was...
... I'll be taking a taxi someplace...
...or in a situation where it'll come up that I edited The Matrix...
...and people will tell me how it changed their lives...
...or made them see things differently.
And that to me personally is so exciting, to be...
...a small but significant part...
...of a movie that can affect people. That's success.
To be in one film like that in your lifetime makes you extremely lucky...
...fortunate, to be in a project like that.
I've been involved in two...
...with Apocalypse Now, which isn't the commercial success...
...that The Matrix is.
Domestically, it grossed about $171 million...
...which is an enormous amount.
And about $270 million foreign, so we're looking at a $450 million gross.
It's Warner Bros.' highest grossing film ever.
It's done a great thing for Warner Bros. studio.
The hardest thing to do is have a great reputation...
...for going cutting edge and innovation.
They really brought it to our studio. I hope they never leave.
I didn't think we'd win anything.
I had essentially the same four nominations...
...for Die Hard.
And we didn't win any of them.
I had the good fortune to be at the Oscar award ceremony.
It was great to be in the audience, and have the film announced.
I went into that evening at the Academy Awards...
...thinking I had a shot, but thinking I wouldn't win.
I said to my wife at one point, "It's boiling in here."
And she said, "No, it's really cold. The air is up full tilt."
Getting the award was Matrix-like unto itself.
You walk up there and none of it seems real in any way...
... but going through the curtain is like leaving the Matrix.
You go through these curtains and everything's all black.
Wires and gaffers are taped everywhere. It was completely...
...this crazy world. It looked like where the people in the Neb lived.
On stage, it was this manufactured world...
...that I got to be in for a moment. That parallel was almost too much.
It was sad that....
I think Bill Pope and Owen Paterson should've been nominated.
They should've at least been nominated.
I wish we would have got more nominations.
But it won awards across the board, in England...
...the crafts in L.A., the sound people gave it an award...
...the editing union gave it an award. It was just a miracle.
We’re gonna make The Matrix 2 and 3 at the same time.
We’re not shooting them back to back, it's one movie.
It'll be cut in half and shown in two sittings.
Everybody calls them sequels...
... but from the first time they told me about The Matrix...
...they've always presented it as a trilogy.
These are the second and third parts of a trilogy.
It's important to see the difference.
You'll be able to watch all three movies together...
...and see one story.
It's the same antagonist, it's the same heroes...
... but you could call it Matrix Squared or Matrix Cubed.
The Matrix was an undertaking.
This is a super-undertaking.
Now we gotta hide things and be careful...
... because people are looking over their shoulders.
There's a lot of stuff that if it got out, it'd ruin the movie.
I hope it doesn't. It'd ruin the surprise.
It's been a difficult task to mount these movies.
They’re expensive, which is always an issue.
They’re doing things that are groundbreaking again.
I'll jump right to the chase.
It's completely over the top from where we were before...
... because the technology's there now...
...to go for the next level.
There's stuff in this movie that nobody's ever done or seen.
Much as I like the first one, when I read the second one...
...it's better than the first one.
Then I read the third one. It's even better.
They’re going to be tiring...
... because they’re amazing. There's so much to take in.
I really like it. I like the revelations.
I like what...
... Neo finds out about.
He found out what Matrix was, to a certain extent.
In this piece, he gets even more insight into how the Matrix works.
Well, this time we know the end of the story.
And this time we know what worked and what didn't work.
I’m really anxious to see what the look will be in the real world...
...in the next two pictures. That, I think, will be...
...or has the potential to be something really interesting.
Study up on your Hegel and Kant and Descartes...
...and Judeo-Christian traditions...
... because it's all explored in the second and third movie.
When you see them as a whole, I think you will find there's...
...a philosophical overlay to this entire thing that's quite profound.
It's rare that you get to merge what you do with what you believe in.
And The Matrix has so many principles that l...
...you know, that I dig.
I think people will love it.
Five kicks this time, five kicks.
Last time they wanted three, but I said four.
This time they said five, so I don't know what we’re gonna do.
We'll let you know. To be continued.
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