"yeah!" "Matrix sweat." "It smells like kung fu." "You don't often read something and go:" "This could impact how we view a particular genre." "and people will mimic it." "ladies and gentlemen... Illinois the Wachowski Brothers!" "The Matrix revolution has begun and continues to grow as time goes by." "We're lucky WB let us put the whole creative team of Matrix 2 and 3 in one place." "the rest are getting it together." "It's still early." "We're actually testing for physical fights and we'll be shooting some special effects for Matrix 2 and 3." "we are trying to flesh out what the film will look like." "We're organizing  head castings for the actors... helmets and head things." "We've got more concept artists working on the movie." "It's five times as big and 10 times as difficult to put to paper." "we're training." "It's the second week." "is learning how to fly punch." "There he goes." "We got a long way to go." "With two it's twice as much as you'd normally get on a film." "And these two films are more complex than the first film." "When we made the first one  nobody knew what we were doing." "We were under the radar." "Only Larry and Andy really had a sense of the film." "I don't know how they stuck it out." "The film's future was uncertain." "we were in Burbank in kind of an empty warehouse." "We had nothing there." "No coffeemaker" "We certainly didn't have trailers to change in." "We had a bathroom." "We had a tiny office with a few people." "It was dinky compared to this." "Like the difference between working at NASA and working in a cave." "It was a big accomplishment to get a drawing board." "To get them to write a check at that time for a drafting table was a commitment they didn't want to make." "And now we have this really wonderful facility." "It's really a dream come true." "to some extent... which is the greatest type of encouragement you could have." "There's a lot less anxiety about whether or not we will be able to execute a lot of the choreography." "so we're not flying in the dark like the last time." "so it's...." "We know the challenges ahead." "it was true about the first one as well..." "I love the material." "I love the material." "I love the character and I love who I ended up working with." "So that is something that-- Regardless of what has to happen that's what gets me through it." "A friend asked us to come up with a concept for a comic." "We didn't have any concepts." "Started thinking about something came up with the whole shebang." "Every idea we've ever had in our lives is in this one film." "A first film is like a first album." "They really put their heart and soul in it." "When I first read The Matrix..." "...there was a great deal about the.... the comic book influence that had been meshed into kind of Western philosophy." "There's a synthesis from the literature... their lives what they're interested in or find funny and cool." "We like kung fu movies." "We like" "We like Japanimation." "Philip K. Dick." "John Woo movies." "nature of reality." "They really have a grasp of philosophy." "Eastern philosophy..." "European philosophy." "When Larry and Andrew said:" "Neo"... and Out of Control..." "robots..." "Evolutionary Psychology." "They wanted me to read those books before I even opened up the script." "To play Thomas Anderson... he felt something was wrong like he was not having real contact that there was something behind the veil." "You ever have that feeling where you're not sure if you're awake or dreaming?" "All the time." "He was looking." "He was looking for Morpheus to try to break that veil and that's something... but what gets in the way." "Baudrillard's ideas of simulacra simulation is an important point within the film." "And that what we see in the film as a real object is in fact often a simulation." "There's a chapter on religious icons." "The icon representing God loses its connection to God then you have a simulation of an icon till it's on your car's dashboard." "A decay of meaning." "where they built Paris in a casino." "simulacra and like-- important issue that youngsters like us are noodling them about." "I read The Matrix script and really flipped out for it." "I thought it was fantastic." "I thought that as a script the first 40 or 50 pages were the best 40 or 50 pages I'd ever read." "And then I got very confused." "We went into the first Warner Bros. story meeting... now we know we've bought something cool." "We don't know what it is." -"Can you take us through it?" ""Am I in the Matrix or the real world?" "How do I get my head around it?" "I didn't understand the script." "I understood enough to say I liked it..." "I understood more." "I had questions forever and would've constantly tried to change the plot..." "Bill you just don't understand." "I have no idea why people who've read the script of the first Matrix found it confusing." "I don't get that at all." "Upon reading the script and seeing the conceptuals... the immediate reaction is:" "There's no chance in hell this movie will be made." "There's a whole slew of scenes I see being chopped out." "It's just too unlike a large studio to take a chance on something that seems very alternative." "I've said to people often that a movie this smart... because it is so smart." "It took many readings and conversations with everyone to fully understand the script." "But I just remember thinking:" "They don't really think I'm gonna do this stuff." "like jumping from one building to another." "of course I'm not gonna run sideways along a wall." "Everything was specifically put in the script." "They want you to understand what you're gonna see." "it's very hard  because people aren't used to reading it or don't wanna write it." "in a western you'll see one-eighth of a page and "The Indians take the fort." "That one-eighth of a page could take a month or two of shooting." "stunt coordinator and everyone  planning how the Indians take the fort." "When these boys explained the helicopter sequence... the car chases they're very clear of what you're seeing." "It makes it easier to budget than "The Indians take the fort" since you know where it'll go." "so it's easier to understand." "And it's also great because they know what they're doing." "One of the great things about them is how idealistic and ambitious they were when they sold The Matrix." "we have this trilogy." "but let's try the one." "and I said:" "I'm gonna have a hard enough time explaining what it is we're making and to sell you two as first-time directors on this scale... you're asking too much." "I don't know how to deliver that." So they wrote Bound." "I've been trying to seduce you." "Why?" "the sex scene..." "This is the sex scene and we're not cutting it" in the script and it-- This is.... it's a little bit naive and it's also tough." "we did the temp music." "We came up with stuff and cut it in." "for a long time and we created this jewel of a movie." "I love Bound." "I remember when I showed Terry Semel Bound  he was so impressed because they'd just made Diabolique that wasn't..." "Goddamn it." "probably cost a fraction of our picture and it's more interesting." "They're good. "That was the desired response." "when we were totally exhausted... they said:" "you wanna do $ 100 million movie next?" "I don't think you should do $100 million movie." "I don't wanna do it." "the more heat rains down." "How are these guys gonna make the jump from a $5 million movie to a $65 million movie?" "And I was afraid for them." "a $10 million movie." "thank God." "That's a lot of money." I know Bound was so great... that doesn't happen." "Studios aren't that trusting." "going through the storyboards  I understood why someone would trust them." "So few people understood the original script they decided to storyboard the whole thing." "Nobody really understood the level of the action or the level of detail we wanted in the action sequences and conceptuals." "They really wanted to jazz them about the action sequences..." "Hong Kong and comic book-influenced." "Comics are graphic-type storytelling when you could freeze a moment and make an image that sort of sustains." "you can't really do that in film." "We tried to do that." "and they worked in the world of comics." "They wrote the first comic book I ever worked on... and was called Ectokid." "I remember watching them storyboard early on and they would act it out." "The storyboard artist would look." "You could see they're drawing from life  not drawing things that can't appear." "They're always there." "What do you think?" "They go over every shot that they want." "What they're doing sometimes is examining." "They'll take an idea... flip it around." "That's what their camera does." "Here's an event." "What's it look like over here?" "Or over here?" "interesting." "The immediate result of their comic background is that their storyboards were far more dramatic and the moments that they select to actually draw... is often right on the head." "the most emotionally evocative." "The notion of storyboards and what the Wachowskis do there's no compatibility to that." "master drawings." "Geof Darrow did a lot of conceptual work." "I only knew of two comics of Geof's before..." "Hard Boiled." "which was not so famous." "But Hard Boiled is pretty well-known." "like millions of other people." "All I could assume was that the man behind it was the most demented individual on the planet." "I was expecting some guy with...." "Covered in tattoos and piercings." "you know... scrawny methamphetamine abuser." "you needn't say that to Geof." "he's out there." "One guy wanted to know what kind of drugs I was taking." "Sominex and Metamucil." "They'd seen some drawings that could have corresponded to images they had especially with the sentinels and the robotic part of it." "They said that they liked the level of detail that I put in drawings." "that it becomes serene." "every section of it is madness." "Geof is wired to Larry and Andy's brain." "they're all wired on the same circuit." ""I hope we have the budget for this." "I hope this looks the same." I had no experience in storyboards." "I had no idea how closely they would be followed." "I was amazed that they got everything as exact as they wanted it." "It's right out of their brains." "What we had to do really with the film was to establish... the difference between the Matrix and the real world." "Our job was to differentiate the two worlds in as quiet a way and as pervasive a way... but not in an in-your-face manner." "slightly monolithic... like a machine would make it." "You notice in the interrogation room... there are grids on the walls and floors even in the ceiling." "So we're hoping it'll convey... if you like." "Owen and I collaborated a lot on the strength of the tones of green in the Matrix." "I also talked with Bill about when the light hits a certain fabric or leather  how I could make it pick up green or different colors." "In the Neb we wanted to be much more about the human beings." "and let the backgrounds get all sort of soft and have the humans stand out more." "Their clothing is a little more humane and cloth-like." "Their makeup and hair are more natural." "They're less styled." "as opposed to the Matrix." "They're a mercenary group of people so they have more on their minds than fashion." "The Matrix always had a green bias to it... we had a blue bias." "We avoided green except for Tank's console on the ship... the Matrix." "which might not seem a great deal to anyone else for anyone actually trying to work out the nuts and bolts of the film... if you like." "My job is to create the environments for Larry and Andy and the actors to work with." "the whole art department pulled off...." "Most people won't believe it." "The largeness." "The hugeness." "The sort of complex set over complex set... built them all." "They're beautiful and totally realistic." "I think his design was so spectacular that he even surprised Larry and Andy." "He went further than they had imagined." "That's a real credit to him." "as Larry and Andy wanted us to do... which were the original concepts." "The case of turning a lot of Geof's fantastic ideas into reality meant some adaptations because we deal with gravity and not just a piece of paper." "which is cool." "Owen's sets also beings derivative of Geof Darrow's demented imagination were fascinating to see." "I wanted to turn them into a club after the film was done." "building sets is like the Matrix itself." "and then you walk through a doorway there's another world." "Just being the Matrix... simulation to every object." "That's kind of the illusion of the Matrix in itself." "Simulacra simulation was very much the case." "my job is to take the script and show people who the characters are by what they wear and why they'd wear them in the environment in which they're placed." "Should we go to Laurence next?" "We've got two different-- Two different kind of looks." "The directors come to the second fitting and we iron out things:" "Can you do kung fu or hang upside down so we don't see up your dress?" "we work out all the practical considerations." "I might use three types of fabric for the same costume." "It might look the same but be stretchy because it'll be put over harnesses... bullet hits or whatever." "if you do it right should be a part of the conceptual process." "Because if you are going after the unseen then planning the unseen should involve visual effects design." "Larry and Andy understood that quickly so they brought me in during this time of development." "We spoke before of the sort of impact that comic books can have in terms of their frozen graphic moments." "What we like about slow motion is that it brings some of that quality to action scenes." "We also like to move the camera so we had this concept of shooting something in slow motion and moving the camera at regular speed." "the pussy wouldn't strap a rocket to his back." "we put a rocket on a dolly so that it zooms real fast." "That wasn't really practical  because you wouldn't really be able to focus and see the shot." "So it had to be some sort of effect." "Somewhere along the line they connected up with John Gaeta." "When we prepped the first movie and looked for a visual effects crew we went to all the usual suspects:" "all these entities that are well-thought of in the world of visual effects." "he was outside that world." "They showed their boards a few places." "they tended to have a similar reaction." "Faces turned white or some proposal for a physical camera invention that'd end with the camera exploding because it'd have to move too fast." "It'd have to be connected to a rocket in order to get the shots." "John's idea was to replace it with hundreds of still cameras." "A moving image is a hundred still images." "and it's a still image." "Bullet time is basically like "mind over Matrix" moment or a moment where we can see time in the speed of light or the speed of sound." "The first test I saw was an exploding trash can." "He froze the flames in midair and moved the camera around it." "Bullet time was the technical hurdle." "you know  nut to crack was the portrayal of the real world." "the most bizarre part of the movie." "Which was the place where  horrendous biomechanical beasties lived and ruled and enslaved mankind and all of those things." "but I didn't get it." "And they called in a couple other guys." "They couldn't do it." "Let me have one more shot at it." "because they were going to Warner's." "They said I got it." "That's the basis of the sentinels." "And they're the villains." "It's nice to have a piece of that." "My kung fu is just no good." "I want to shoot the kung fu like the Hong Kong guys." "six punches." "Choreograph fights like a dance." "Let it sort of happen in front of people instead of creating it in editing." "That required all of the four major actors to undergo massively intense study with one of the best Hong Kong choreographers Yuen Wo Ping." "We want the actors to do the kung fu." ""What's the big deal?" "Let's get people who can do kung fu." "They were convinced they wanted to see these actors doing it themselves." "Actors are more believable than stuntmen  no matter how good they are." "If actors can be stuntmen you've got it made." "Sorry." "We were up-front with how demanding the film would be." "We were hoping someone would be" "Crazy enough to do it." "I had no idea what we were in for." "Okay." "There'll be lots of training." "No problem at all." "I didn't think about it enough." "I totally knew because I screen-tested for three hours doing this stuff." "This was part of my screen test." "Without other actors so I could have a breather." "those first two days  kicked my ass." "I was so shocked and I realized I was so unfit." "And I was working with these incredibly skilled Hong Kong performers who thought I'd never get there." "We started on the last rung of these bars." "Hugo  put your leg up." "Carrie-Anne." "And then you'd kick." "You'd kick for about 45 minutes." "We're kicking and we're sweating..." "Ouch!" "Next day you come in limping." "Keanu made this decision and went through the toughest training periods for an actor in modern film while he was recovering from surgery." "To his neck." "I had a two-level fusion in my cervical spine." "so I had this surgery done." "And then it was just a waiting game." "because I couldn't train and kick for two months." "fuck!" "It was devastating to watch." "Because it hurt me to watch." "the fight choreographer was very nervous." "I don't kick much." "but I don't kick that much." "you never work a day." "We're playing out there together." "There's a lot of playtime that goes into this hard work of the training process and choreography." "We have fun." "And Wo Ping sets that kind of tone." "He has such a wealth of knowledge and experience." "Him and the people that he works with are great teachers." "We basically had the basic structure of how we wanted the fights to work." "And then he'd" "Work on the fight." "what we didn't." "What we had in mind was being able to see the guys jump and hit." "Jump and hit." "ln the two shot." "How do they hit?" "Is this just a takeoff?" "Is this a two shot?" "They actually fly out of the shot." "Then in one shot they hit each other." "That's what I thought he was thinking." "you want to see them flying and hitting in one shot." "Right?" "That's what we were thinking." "He says he doesn't have enough people to draw...." "We'll get on there." "Let's go!" "go!" "hit." "good." "Wo Ping and the Wachowskis are working on the shots." "Camera position is all worked out." "they would start training the actors with the team to learn those exact moves and they would practice over and over." "You sure we don't move on that?" "Yep." "Coming at you." "Okay." "we can't tell you how much we practiced." "Like just the first part of it." "We spent two months on just the first movements." "collaborate with what our style was." "He'd let that develop." "maybe when I come in..." "...can I go like this and step in?" "Yeah." "No problem." "And then.... good." "but enough." "Right?" "The American training." "Good." "It seems ready for Australia." "I think we were ready." "I know I was ready." "let's go." "The city's beautiful." "I've never seen anything quite like it." "Gorgeous." "Australia provided many things that brought the cost of the film down." "It's odd the studio was so hands-off with fairly new directors." "They had done Bound previously  but obviously this project had a much larger budget." "We didn't have as much immediate supervision." "And that allowed a lot more artistic integrity." "That's one of the reasons we ended up in Australia." "The brothers knew far away is better for your first film." "No." "We saw it as a way of making a movie." "We would've gone anywhere." "we had a Buddhist ceremony." "We had a big pig." "A big feast." "some incense." "Auspicious day." "Once we started filming we looked forward to five months of filming." "It's hard to imagine the end part of it." "There was a really great excitement about it." "it was in a new studio." "Costumes were being built." "Everyone had a genuine enthusiasm for what they were doing." "I was feeling good until I got the news my neck didn't fuse." "We would train and then fight." "And have a chunk of time and train and fight." ""You can't fight." "We knew his neck was injured and the schedule was back-loaded action-wise so that in the beginning Keanu could do quieter scenes and the fighting scenes later." "Action." "Shit." "He needed to look ill at ease in his clothes at work." "So he was disheveled and nothing quite fit him properly." "the brown jacket." "We went shopping for that." "One of the first experiences I had with her was going to an antique flea market." "Just walking through." "We saw shapes that worked on me and didn't work." "The important part is the reveal." "And...?" "And a bit of..." "...the guy in a box." "Guy in a box?" "What if they...?" "Cut." "You guys met Robert?" "Not yet." "Robert?" "The bailout guy." "The parachute." "Save us." "It's nice because two directors can act things out." "guys." "This is the good thing about having two directors" "Action." "Somebody's gonna be here." "say something...." "Stand by." "Action." "We figured a lot out." "Working with each other." "How are we gonna make this film?" "Cut!" "Perfect." "Keanu's first trip back to the Matrix once his veil has been lifted from his eyes." "That's his trip in that car through Chinatown." "Then I go for the jump." "I try to free my mind and go for the jump." "Then I can die." "Then I learn I can die in the Neb." "Then I find out I'm not even the one." "The thing that used to convince him before he was told the truth now looks fake." "Green screen is too sophisticated." "We could make it look real." "So I wanted to use something as fake as a rear screen projection." "The same way Cary Grant looks fake driving down the street in North by Northwest." "They got a pretty cool quality out of it." "It's an unusual thing to do these days." "The colors were saturated." "The defocused nature of it made it dreamy." "That was the first day I worked with Mr. Fishburne." "isn't it?" "You know what was great about that scene?" "Was that even with the knowledge that his life was a simulation was that he's still fascinated  by the technology of what the Matrix is." "because he has a regal bearing." "We dressed him very formally." "He's a formal character." "The god through the world." "How nice!" "G'day." "Here we are in Oz." "And I have one question:" "Where is Skippy?" "I had an idea when this sequence with the cat and they talk about déjà-vu." "Déjà-vu." "So we decided to include that in the fountain scene.... ...to continue the idea that the Matrix was glitching." "So we cast a lot of twins and triplets and costumed them identically." "I don't know if anyone noticed." "You want to put some twins over there." "Could you put a couple more nuns in the second row?" "Neo." "Hey!" "One day I will no longer be a computer nerd." "I will be a superhero!" "I can fly!" "Just stop it!" "Stop" "They agree on everything." "Does that tell you what I think of your idea?" "Neo?" "Or were you watching the woman in red?" "Look again." "It's hard to hold this damn gun." "It's like holding a brick." "you liked this better than this?" "Or just nothing?" "Just freeze it." "We'll try it clean and naked." "Freeze it." "We're establishing everybody?" "First we're going to shoot the background with nobody in it." "Then we shoot the fountain with a closed shutter." "Like when you shoot those crisp water commercials." "Then we bring in the crowd." "We shoot those guys for all three angles." "And while they are walking through the frame we're gonna ramp the camera from 24 to 96." "we're going to stop and pick a frame that looks crisp... stuck." "This isn't the Matrix." "No." "It's a training program to teach you one thing:" "you're one of them." "I like villains if they're funny." "I always thought Smith was funny." "He amused me so it was easier to enjoy playing him." "We wanted to convey the idea of a secret agent look." "And the '60s silhouette seemed to fit well." "That J. F. IKKK. undercover look seemed to be the right one." "I was excited when we did that scene because I felt I was actually acting." "I was involved in something that was..." "I suppose." "Door." "Cut." "I felt I was actually involved in it." "To see what Hugo Weaving was doing with Smith was so fantastic." "Mr. Anderson." "It seems that you've been living two lives." "We tried to use a very neutral accent  but a more specific character." "And the character kind of evolved." "I wanted him to be... but not really human." "I kept thinking about a '50s news reader." "It's Walter Cronkite." "It sounds like:" "That's the way it is. "You know?" "It's so great." "program writer for a software company." "I picked up on Larry and Andy's rhythms." "Larry and Andy both have an incredibly deep voice and Agent Smith started to talk like that." "One of these lives has a future." "One of them does not." "Somebody said he was imitating us at one point." "We fired them." "How about I give you the finger and you give me my phone call?" "To play what was going on... but kind of some of the chutzpah that Thomas Anderson has:" "Fuck you." "I keep getting into this attitude when I do it." "I turn into this guy." "All of a sudden I feel like I'm some '70s hippie guy." "See what I mean?" "I really feel like that." "Then I had to have my mouth covered for five hours." "I hadn't thought of how I would communicate that day." "So I was:" "Trying to find a pen." "What?" "Some paper?" "Write it fast." "We're on the clock." "swing at agents?" "They're pretty mighty." "Action." "Mr. Anderson." "Whether you want to or not." "Cut." "Cut." "That was a good day." "That was fun." "Don't worry." l'm worried." "What's the stop right now?" "What's going on?" "This is a Bill Pope light right here." "The early days were terrible." "It was physically debilitating to go up on those rooftops." "Geer up and down." "here we are." "How's this gonna happen?" "What are we gonna do?" "I've got a good feeling." "Sometimes you gotta go" "With the flow." "You know what flow is backwards." "I repeat." "We are under attack." "The first thing I did was a four-kick." "Kick him in the head." "I've been training for four months not to kick anyone in the head." "Kick him in the head." Okay." "Action!" "Die!" "I woke up and my neck went out." "no!" "They brought a masseuse over to get it out and we did it." "Thank God for Advil." "Terrible." "No style." "it's gonna be good." "As this guy is flinching back  he's gotta reveal Trinity in the distance and Keanu up close." "Could you pull that out of my head?" "Thanks." "help." "Cut!" "That sucked!" "You go from the 150:" "to:" "help." "You wanna be in on that." "Have them go down here?" "Just let them down." "Cut!" "The second one was good." "lt was okay?" "so you've got that one." "this is in bullet time." "This is bullet time action." "That was the backup plan." "We had not completed making the rig that we needed to do the real shot." "We wanted to make sure that we could do that scene if the bullet time process didn't work." "We had all these rehearsals with stunt folks." "There was some rigidity." "It just felt clunky and we were worried that Keanu would  not be able to go that far." "Can we do one where he goes two and try to start back the other way?" "All of his performances were more fluid." "There was this extra whole emotional inertia that allowed him to stretch his body into that ultra limbo-like position." "This one's first?" "The gun?" "I mean the hit." "Yes." "Okay." "Okay." "Okay." "And you want this knee to come up?" "Yeah." "Dodge this." "Raid!" "Police!" "Hands on your head." "Do it!" "Do it now!" "Trinity wore the most bare skin of everybody." "So you had that distinct difference between... shiny and metallic-looking and then flesh." "We spent a lot of time experimenting with what fabrics did in different types of light." "So that we could get Trinity really like a mercury oil slick." "three!" "last time on the wires because I did wire work." "and then all of a sudden you find your way with the wire and you feel-- it hurts to do the wire." "and you can do things that you thought you couldn't." "It's more your mind getting around it than anything." "The crew didn't know what we're doing." "I really am doing it." ""Do you need Gatorade?" "I think she's done too much." "I wanna do it again!" "Action!" "Stunt people don't work on wires all the time." "It's a specialized thing and so my stunt double" "It just didn't feel right." "Okay." "Ready?" "Should I get changed?" "Yep." "I got up and did it." "don't forget." "mission time." "When we got to move inside and made the government lobby... the world changed." "I give you the finger and you give me that finder?" "Once we shot and cut the government lobby the cloud lifted and The Matrix had a voice." "It became obvious this was a movie unlike anything seen before." "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." "And action!" "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." "loose change." "Holy shit!" "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." "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." "no!" "I remember thinking... I'm not gonna-- l'm down." "But I can't be down." "Then I was told that it was just one take." "I'll be able to do this." "I'm gonna do this." It was very heavy." "l'm leaning forward?" "Yeah." "Sideways." "Okay." "right." "Great!" "To see Keanu do the quadruple kick.... 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." "reel him up." "We'd do it." "It wouldn't be good enough." ""Could you get like this?" "We'd try it again." "It's the way it should be." "look at it and talk." "IKKKnow when to leave it alone or keep going." "I tended to not know when to leave it alone." "hands." "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 have a good end." "Hold on." "Good." "Wanna try one more?" "Yeah." "let's try one more." "He wants to try one more." "You can do two." "you do two." "Two more." "He's a perfectionist." "He felt there's something... the whole picture." "And he wanted to get it right." "it had to be super perfect." "What a day it's been." "Crazy day." "It's been eventful." "And action!" "Eight days till dojo." "that's an eternity." "That's an eternity." "The idea was a traditional Japanese-style building... 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." "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." "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." "screaming." "I just can't fucking do this now." "We'll shoot it on Monday." "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." "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 I'm stepping to make the swoop." "And action!" "Cut." "I know what you're trying to do." "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." "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." "they're fun." "they hurt." "You're empty." "So are you." "Go easy." "Relax." "Are the guns at--?" "What are we doing?" "Directors!" "Yes." "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." "that's good." "What does it look like against his head?" "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." "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." "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." "if your feet are higher it'll make you spin." "Have your feet lower." "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... dropped 10 feet." "Chad did the upside-down hit." "After that he had to do the ceiling hit." "Smith is on top of him." "the other stuntman" "Chad was on the bottom and landed on one knee and his knee broke." "He tore ligaments in his knees... broke some ribs." "fire!" "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." "you know  been badly injured or even killed." "We were really worried." "That was a horrible evening for everyone." "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." "look at him." "wipe." "The wipe takes you straight into the" "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... 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-- it's an unnamed city." "I'd like to share a revelation I've had during my time here." "is totally in control... 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 prison." "He's starting to smell things... 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 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... things were floating." "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... but made lightweight  had to operate on all axes and lift off and take off." "The blades were put in later." "take us up." "You in there tight?" "snug as a bug in a rug." "Let's fly." "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." "Hey!" "Who's responsible for this?" You know?" "Steve Courtley and his crew built into the floor... 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." "you arc around the wall to get Jones." "they cue the window" "The glass had to be blown out." "it had to be blown out  by peashooters blowing sand." "Hundreds lined up out of frame." "He's not gonna make it." "to achieve what seems... 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." "like going into a new thing." "It was sad too since we had to say goodbye to the wire team." "it's crawling with sort of Geoff Darrow... which has this organic quality." "It's sort of industrial... 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." "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." "every-- there was... arteries  representative of this kind of... you know." "That marriage of machine and man everywhere in the picture." "it's weird." "It's almost become characters." "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." "almost." "I love you." "there's a fire-- maybe feminine even  because she's really kind of warrior-like in the matrix." "I think." "Now." "and I pull this out." "Now" and then push." "ls it before the "now" or after?" "After." "After?" "How does she know I'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." "how does she know I'm back?" "She knows." "ls there any cue from over the phone?" "She knows!" "Rehearsal." "And action." "Action." "Sentinel." "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... very science fiction-y look." "And to make it look kind of dirty and used and ugly." "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." "and he had hypothermia." "Darko." "they knew to heat it up." "Give him another one for his arms." "You want my hands to go out?" "but out is good." "That's good." "And action." "Light." "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." "his eyebrows." "I found that when I had..." "Uh-huh" and they wouldn't look at me." "It was weird." "Now!" "Go!" "It kind of felt like we just sort of... you know?" "It wasn't a graceful end." "We just tried to get everything done." "that concludes principal photography on The Matrix." "I remember feeling very tired and very relieved at 1 :01 in the morning... which was Neo's number." "you're done." "Yeah." "Yeah." "I remember walking from work and they said it's a picture wrap." "it was crazy." "And I remember saying to myself:" "I will never care this much again." It's too painful." "Let it go." "I can't." It's such an amazing experience." "118 days." "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." "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 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." "or comes down from it." "It's something to work around." "you show up and there's only one shot." "and you look for it." "more than most crews are used to... 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." "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." "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... big sequence." "We wanted the glass to explode in an ever-expanding circle." "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." "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:" "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." "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." "totally harmless." "I believe in film as a visual medium." "I think sound effects and music... powerful tools." "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 I'm a big fan of... keeping the film raw and naked." "So you can watch it and get some rhythm from it without music and effects." "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." "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." "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." "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." "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 literally thousands of face and body hit sounds and arm whooshes and leg whooshes." "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... representing the reflection we see onscreen." "That was really the key to it for me." "We all pretty much agreed... orchestral and choral approach was best for the music." "And then we'd enhance that with additional synthesizers and sampler elements." "whenever sequences had... we'd emphasize the orchestra." "we'd emphasize the synthesizers." "It was seamless going from the underscore to songs due to the sensitivity of the directors..." "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." "Neo." "Who is?" "Please just listen." "That was a natural connection." "very much matched this future-minded mentality that many producers in electronic music subscribed to." "Clubbed to Death." "hip-hop  break beat with strings." "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... and we had TV spots... and the visual effects weren't ready yet." "you know tension-filled moment when you prepare to release a movie." "I took out two frames." "Because the effect that came in wasn't what I imagined." "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 how Trinity worked well." "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." "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... 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." "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... to be in a project like that." "I've been involved in two... which isn't the commercial success that The Matrix is." "it grossed about $171 million which is an enormous amount." "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." "and have the film announced." "I went into that evening at the Academy Awards... but thinking I wouldn't win." ""It's boiling in here." "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." "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." "in England... 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." "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 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." "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." "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." "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." "to a certain extent." "he gets even more insight into how the Matrix works." "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... 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." "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 I... that I dig." "I think people will love it." "five kicks." "but I said four." "so I don't know what we're gonna do." "We'll let you know." "To be continued." "The end."