"Oh, yeah!" "Matrix sweat." "It smells like kung fu." "You don't often read something and go:" ""This could impact how we view a particular genere."" "This has that chance, and people will mimic it."" "Here they come, ladies and gentlemen   from Chicago, Illinois   the Wachowski Brothers!" "The Matrix revolution has begin   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." "Andy and Larry are in Casting, 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." "In preparing for the next two films, we are trying to flesh out   what the film will look like." "We're organizing   head castings for the actors   so we can design glasses, 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." "Today, we're training." "It's the second week." "Mr. Weaving, Agent Smith, 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." "The first Matrix, 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." "This time, we go in with, to some extent   a cult-fan following, 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." "We've been through it, so we're not   flying in the dark like the last time." "We know how hard it's gonna be, so it's ..." "We know the challenges ahead." "The thing about it, it was true about the first one as well   you know, 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 ..." "I don't know, the Eastern influence, the comic book influence   that had been meshed into kind of Western philosophy." "There's a synthesis from the literature   the exposure that they've had in cinema, their lives   what they're interested in or find funny and cool." "We like kung fu movies." "We like" "We like Japanimation." "We like Japanimation, Philip K. Dick." "John Woo movies." "Science fiction books that are about the, sort of, nature of reality." "They really have a grasp of philosophy." "Of all types of philosophy, Eastern philosophy .... ... of, you know, European philosophy." "When Larry and Andrew said:" ""We want you to play Thomas Anderson, Neo"   I had to read Baudrillard, and Out of Control   which is about systems, evolution, robots   and another book, Evolutionary Psychology." "They wanted me to read those books before I even opened up the script." "To play Thomas Anderson   he searched for the truth, 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   Baudrillard spoke about." "Not the searching, 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." "It wasn't like Las Vegas, where they built Paris in a casino." "The power of simulate, you know, simulacra and like--." "It's a very relevant, very modern, important issue ... .." "... that youngsters like us are noodling 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   and they said, "Okay, now we know we've bought something cool." "We don't know what it is." -"Can you take us through it?"" "When I read the script I went, "Am I in the Matrix or the real world?" "How do I get my head around it?"" "I didn't understand the script." "Iunderstood enough to say I liked it   but every time I read it and we got closer, I understood more." "I had questions forever and would've constantly tried to change the plot   and they were, "Now Bill, Bill, Bill   ou 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   at the same time, 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." "You know, I've said to people often that a movie this smart   it's almost a miracle it got made, 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 running, like jumping from one building to another." ""Well, no, 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." "Particularly in an action movie, it's very hard   because people aren't used to reading it or don't wanna write it." "The legendary stories are, 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." "That's the director, stunt coordinator and everyone   planning how the Indians take the fort." "When these boys explained the helicopter sequence   or when they explained, in the new movies, 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." "It's easier to see what'll happen, 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." "They said, "Look, we have this trilogy."" "I said, "It'd be great to get the three, but let's try the one."" "They wanted to direct it, 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   with this kind of complexity, 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?" "There was one scene in it, the sex scene   and they wrote, "This is the sex scene and we're not cutting it"   in the script and it-- This is ..." "I like that." "It's funny, it's a little bit naive and it's also tough." "It was so low-budget, we did the temp music." "We came up with stuff and cut it in.." "We worked hands-on together, very closely, 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   that effective." "I remember Terry said, "Goddamn it."" "I said, "This thing, Bound, probably cost a fraction of our picture   and it's more interesting." "They're good." That was the desired response." "At the end of Bound, when we were totally exhausted   on our last day, they said:." ""Pope, you wanna do $100 million movie next?"" "I said, "I don't think you should do $100 million movie." "Even if you do, I don't wanna do it."" "The more money you have, 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." "I kept saying, "Let's do a $20 million movie, a $10 million movie." "Let's work our way up." They didn't listen to me, thank God." "I thought, "That's a lot of money." I know Bound was so great   but lots of times, that doesn't happen." "Studios aren't that trusting." "After spending an hour with them, 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   which were, like I said, 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." "As a counterpart, you can't really do that in film." "We tried to do that." "They love comics, and they worked in the world of comics." "They wrote the first comic book I ever worked on   way back when, in my big break in comics, 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." "I don't just come up with stuff and say, "What do you think?"" "They go over every shot that they want." "What they're doing sometimes is examining." "They'll take an idea   they'll see different sides of it, flip it around." "That's what their camera does." "Here's an event." "What's it look like over here?" "Or over here?" "This is neat, 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   the snapshot in time, is often right on the head." "The most maddening, the most emotionally evocative." "The notion of storyboards and what the Wachowskis do   there's no compatibility to that." "These are paintings." "They are, you know, master drawings." "Geof Darrow did a lot of conceptual work." "I only knew of two comics of Geof's before   one of them, a legendary comic, Hard Boiled." "And then Big Boy, which was not so famous." "But Hard Boiled is pretty well-known." "I had Hard Boiled on my shelf, 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." "I assumed he was, you know   a very skinny, scrawny methamphetamine abuser." "When Morpheus tells Neo to free his mind, you needn't say that to Geof." "Geof's mind is free." "I mean, 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." "He draws so many details, that it becomes serene." "At the same time, inside it, every section of it is madness." "In many ways, Geof is wired to Larry and Andy's brain." "I mean, they're all wired on the same circuit." "During that time, they were always, "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   visually, 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   so it took you someplace, but not in an in-your-face manner." "In the Matrix, everything was slightly decayed, slightly monolithic   and grid-like, like a machine would make it." "You notice in the interrogation room   or the office, there are grids on the walls and floors ... ." "... even in the ceiling." "So we're hoping it'll convey   a feeling of artificial control, 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." "So we used longer lenses, 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." "It was a very hand-hewn world, 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   whereas in the real world, we had a blue bias." "We avoided green except for Tank's console on the ship ... ." "... which has got green code, the Matrix." "So all of those things, which might not seem a great deal to anyone else   for anyone actually trying to work out the nuts and bolts of the film   they're kind of like revelations, if you like." "My job is to create the environments for Larry and Andy   and the actors to work with." "What he did in Australia, the whole art department pulled off ..." "Most people won't believe it." "The largeness." "The hugeness." "The sort of complex set over complex set   over complex set and, like, 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." "We've utilized, as Larry and Andy wanted us to do   Geof Darrow's drawings, 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." "Essentially, we're trying to evoke the world he developed, which is cool." "Well, Owen's sets   also being derivative of Geof Darrow's demented imagination   were fascinating to see." "I wanted to turn them into a club   after the film was done." "I think, sometimes, building sets is like the Matrix itself." "On one side is plywood, and then you walk through a doorway   there's another world.." "Just being the Matrix   there's a kind of, like, simulation to every object." "That's kind of the illusion of the Matrix in itself." "Simulacra simulation was very much the case.." "Basically, 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?"" "You know, 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   or body armor or, you know, bullet hits or whatever." "Visual effects, 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." "And Bill Pope, the pussy   wouldn't strap a rocket to his back." "The discussion was, 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:" "We went to ILM, Digital Domain, all these entities that are   well-thought of in the world of visual effects." "Gaeta was not part of that group." "I mean, he was outside that world." "They showed their boards a few places.." "Each time they had done that, 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." "It can look like a motion picture, 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." "But the conceptual, you know   nut to crack was the portrayal of the real world." "Which was, oddly enough, 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." "I tried drawing sentinels, but I didn't get it." "And they called in a couple other guys." "They couldn't do it." "I said, "Let me have one more shot at it."" "And I drew it really fast, 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." "Have the actors exchange four, five, 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.." "Larry and Andy said, "We want the actors to do the kung fu."" "I would say, "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." "They said, "Four months." I said, "Okay."" "Larry and Andy said, "There'll be lots of training."" "I said, "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." "I'll tell you one thing, those first two days   kicked my ass." "After the first day, 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." "We would walk in and say, "Hey, Hugo   put your leg up."" "We'd get our legs up." ""Get your leg up, Carrie-Anne."" "And then you'd kick.," "You'd kick for about 45 minutes." "We're kicking and we're sweating   you're sweating and you're grunting and going, "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." "Coming into training for the first one, I had a two-level fusion   in my cervical spine.:" "I was getting paralyzed, so I had this surgery done." "And then it was just a waiting game." "But it hindered me, because I couldn't train and kick for two months." "Ah, fuck!" "It was devastating to watch." "Because it hurt me to watch." "Wo Ping, the fight choreographer was very nervous." "In the film, I don't kick much." "I do a couple wire kicks, but I don't kick that much." "The Chinese say, "Pick a job you love, 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.." "He'd do things, we'd see them." "We'd decide what we liked, what we didn't." "What we had in mind was being able to see the guys jump and hit." "Jump and hit." "In the two shot." "How do they hit?" "Is this just a takeoff?" "This isn't 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." "So, 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!" "One, two, three, go!" "One, two, three, hit." "Okay, good." "Wo Ping and the Wachowskis are working on the shots.." "Camera position is all worked out." "Basically, 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." "For the dojo fight, 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." "He would look at us and develop with us, collaborate   with what our style was." "He'd let that develop." "So, maybe   when I come in ..." " ... can I go like this and step in?" "Yeah." "No problem." "And then ..." "Okay, good." "Not too much pressure, 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, let's go, let's go." "Sydney's a beautiful town." "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." "On the first day of the shoot, we had a Buddhist ceremony." "We had a big pig." "A big feast." "Let's get some fruit, some candles, 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." "When we showed up, 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." "And I was ready to go and they said, "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 coat, 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." "This is Mr. Steadicam." "How are you, Robert?" "The bailout guy." "The parachute." "Save us." "It's nice because two directors can act things out." "Show him that shot, guys." "This is the good thing about having two directors" "Action." "Somebody's gonna be here." "Somebody doing photo copies." "He'll see it, say something ..." "Stand by." "Action." "We figured a lot out." "Working with each other." "How are we gonna make this film?" "Cut!" "t" "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 North west." "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." "Unbelievable, 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' still fascinated   by the technology of what the Matrix is." "Laurence is perfect for his part, because he has a regal bearing." "We dressed him very formally." "He's a formal character." "The guide 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 déja-vu." "Déja-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?" "The Matrix is a system, 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?" "Are you listening to me, 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." "So, you liked this   better than anything?" "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." "And in that moment, we're going to stop   and pick a frame that looks crisp   and digitally hold that frame so everyone's, like, stuck." "This isn't the Matrix." "No." "It's a training program to teach you one thing:" "If you're not one of us, 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.K. 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   gonna extend me, I suppose." "Door." "Cut." "After all this preparing, I felt I was actually involved in it." "To see what Hugo Weaving was doing with Smith was so fantastic." "As you can see, we've had our eye on you for some time, 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   not robotic, 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." "In one life you're Thomas Anderson, program writer for a software company." "After a while, 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   scared, but kind of   some of the chutzpah that Thomas Anderson has:" "You know, "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." ""Hit, resist, swing at agents?"" "They're pretty mighty." "Action." "You're going to help us, Mr. Anderson." "Whether you want to or not." "Cut." "Cut." "That was a good day." "That was fun." "He says, "Don't worry." I'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." "Gear up and down." "I was excited." "It was, "Okay, 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!" "That day we shot on the rooftop, I woke up and my neck went out." "I couldn't move." "I was crying and thinking, "Oh, no!"" "They brought a masseuse over to get it out and we did it." "Thank God for Advil." "Terrible." "No style." "Is it too tight?" "No, it's gonna be good." "As this guy is flinching back   he's gotta reveal Trinity in the distance and Keanu up close." "Is it a thud, or is it ... .?" "They should go-- And then fall out." "Could you pull that out of my head?" "Thanks." "Trinity, help." "Cut!" "That sucked!" "You go from the 150:" "to:" "To:" "Trinity, help." "You wanna be in on that?" "Have them go down here?" "Just let them down." "Cut!" "The second one was good." "It was okay?" "Okay, so you've got that one." "Well, 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   something black, 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." "One, two, three!" "I spent a lot of time last time on the wires because I did wire work." "It's challenging, and then all of a sudden you   find your way with the wire and you feel" "It's also very sore, like, it hurts to do the wire." "Then you find your way on it, 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." "When I'm running alongside a wall, I really am doing it." "The nurse was like, "Do you need Gatorade?" "I think she's done too much."" "I'm like, "No, 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." "So Larry and Andy look at me." "I said, "Okay."" "Ready?" "Should I get changed?" "Yep." "I got up and did it." "We're on a mission, don't forget." "Joke's over, mission time." "When we got to move inside and made the government lobby   scene, 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 I'm running down with the guns." "They're literally setting off a thousand bullet hits   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!" "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." "Keys, 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." "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, I'm not gonna-- I'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." "I'm leaning forward?" "Yeah." "Sideways." "Okay." "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." "Let 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." "Know 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." "Kung 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." "If 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." "Keanu wasn't satisfied, it had to be super perfect." "What a day it's been." "Crazy day." "It's been eventful." "And action!" "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." "Keanu 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." "It 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." "Knocked 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." "I'm trying to free your mind, Neo." "In the subway sequence Larry and Andy got sick." "We were in down coats in the summer." "It 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 wire work 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?" "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." "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: "I 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 translight." "Biggest translight in the world." "Interested in a stand like that?" "Is it the biggest?" "The biggest one-piece translight in the world." "We did computer-generate the translight 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." ""Do 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." "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." "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 Geof 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." "I just 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   living tissue in this steel ectoskeleton, you know." "That marriage   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." "Is 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." "If she pulls the plug, how does she know I'm back?" "She knows." "Is 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." "Geof 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 pod, 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." "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 1 5 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." "Now!" "Go!" "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." "Yay, you're done." "Yay." "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   looking 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 had 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 cgi, 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 CG camera anywhere." "It's used to make backgrounds   for shots that 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." "The whole look of the computer-graphic creatures   and 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 I'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   literally 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   breakbeat 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 website." "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 I   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." "The end." "Subtitles by SDI Media Groupn" "[ENGLISH] converted and fixed by Lopo lopo@losys.sk and then improved by Jerry jscm@libero.it"