Minute 100: “…in this mind is the key, my key…”

Transcript

Transcribed automatically from the audio, and imperfect for it — names and punchlines suffer worst. Useful for finding a moment, not for quoting one.

0:00Is it the next episode already? Oh, it's next episode. Welcome to the Matrix Minute, a podcast where we discuss the first film one minute at a time because we love this movie very much. I am Phil. Welcome. This is episode 100. It's our centennial. Centennial? Yeah. Yeah. Whatever you say, Phil. Whatever you say. It's episode 100. It is. One, zero. There's three digits now. We used to just have two. Now we have three. Welcome. Interesting. So this episode, and this wonderful Wednesday, really close to my birthday, by the way. Oh. Yeah, yeah, yeah, yeah.

0:41We have a whole scene of a minute of Agent Smith just talking. Awesome. Riveting. We're going to get into that this Wednesday. Well, we're here to listen. And this is what happens. Episode 100. I feel saturated by it. I can taste your stink. And every time I do, I fear I've somehow been infected by it. It's repulsive, isn't it? Agent Smith grabs Morpheus by his head. In an unprecedented show of anger and panic, he tells Morpheus that he must get out of here. In Morpheus' mind is the key. Once Zion is destroyed, there's no need for him to be here. However, he has to get inside Zion, and Morpheus has to tell him how, or he'll die.

1:28Meanwhile, Neo walks into the government entrance, his amazing boots in a close-up. He looks like he has a cape on. Oh, it's such a good music that it builds up to this. Da boots, da boots. Tsk tsk tsk tsk tsk tsk. I use this for an intro. The sort of theme of the anvil and the little shakers. Yes. It's so good, the music that builds up throughout this minute. The anvil. So the anvil, he's back with a vengeance.

2:09The way it builds up throughout this entire minute is fantastic. It just goes and gets louder and louder. And Agent Smith, he's talking again. He's like, it's the smell. If there is such a thing, I feel somehow infected by it. Tell us, explore for us the depths of meaning. Yeah. Aidan Smith's speech. Jaden Smith. Yeah. Jaden Smith. How can I see? Phil, come on. Explain to us. What is your... What is your... Opinion. Reading. What is your reading of Smith's speech?

2:49Well, he feels saturated by it. He feels like he can taste your stink. My stink? And every time I do it, I feel so I've been infected by it. It's repulsive, isn't it? What do you think that means? Well, it's just that he has been living in this virtual reality that he feels he doesn't belong in this for so long that he is just... I can understand how that feels. It's like being awake for so long and you just want some rest and you can't get it. And he hates having to deal with these stinky humans and being in this body for so long. Wouldn't you say also that he feels uncomfortable? Like he's not comfortable in his skin because he's an AI who's been assigned this human stinky body.

3:34Yeah, yeah, yeah. It's like Gandalf. I think someone should tell him that that's his only reality. If he's removed from this, he will no longer exist. But that's not entirely true, right? Because he could be consciousness unbodied. What would be the need of an agent like that? Well, I mean, there's all kinds of agents in... Yeah, you're right. What would be the need of that? There's no need. He's not a program that like sorts anything out. He's created just to be this entity that roams around the earth and strikes fear into the heart. But I mean, like we said, he could be a werewolf or something. He's not exclusively human. He could be like an intelligent octopus or something.

4:17An intelligent octopus. He's like, I can help you. But then again, if the octopus smells as well. Yeah, so he doesn't want to be stinky. No, it's not that. I know. He's talking about the... Well, the way I read it again is that he doesn't like being in this, what do you call it? Zoo. He wants to be in like... I don't know what he wants, but his idea is clearly not this. I feel like this is Smith turning into a more conscious being because... But I think this is not his natural environment because he's been placed into this. But the other agents don't care. Yeah. He's the only one who does and he's angry. He's just so bitter. Was it?

4:57Bitter. And I think this is maybe a hint at what they were planning to do with Agent Smith and... Agent Smith. Agent Smith in the second and third films, maybe. Here's my question to you, Philip. Later on, because he just turns into something else. Was it ever explained? What is the nature? Why is Agent Smith different than the other agents? You know, I think this is the same thing like we talked about. This is just one of those movie things that I think we can't read into it, anything. I'm actually asking, is there anything? Because I don't remember. That's why I'm asking. I think it's one of those just thematic elements. I don't think...

5:37We could make up some theory that like he's an anomaly or whatever. Look, you have your antagonist talking to one of the protagonists of the film and they are both... They both have something in them that they have to express or they have... They're fighting for or they're... Yeah. You know, doing. I mean, I know. Like, you know, I'm not going to go into depth. It's a lot of intensity to the scene and when it cuts to the rescue mission showing up, it makes it even more satisfying. I know, but I'm not going to like go in depth and, you know, sort of dissect why is a dozer muscly and has, you know, a bandana. Like, that's a choice. Like, oh, whatever. But this is the main antagonist and he, for some reason, is an AI who's different than anyone.

6:20There's got to be a reason. It goes back to the writing of the script and I think that Wachowskis probably wanted to allude to these, again, bigger questions of like consciousness. What is consciousness? What does it arrive? Like, what is it... Where does... How does it arise? Can we have different types of consciousness? Like, does artificial intelligence the same kind of consciousness as human intelligence? Stuff like that. You know, that's why I think they were... Can I make a theory? Yeah. Okay. So... Sure. We see that there are visually few types of agents. They're not actually copy-pastes of each other. So if we take this into consideration, that means that their appearances are set by a random,

7:07you know, batch of values. Maybe they, you know, like when they create a new instance of an agent, they'll go, oh, just random, like bigger nose, smaller nose, bigger eyes. So let's say maybe they do this with their personality as well. And let's say just like in evolution, you know, when a certain set of random values, you know, are just right. And in this case of Agent Smith, they were just right for his, you know, instance to be more persistent. And if we're taking his conversation here that he's sick of the reality, he's sick of the virtual reality that is, you know, like made from,

7:48to look like real life with your smell and everything. And he just wants it to end. And he knows that if, if, if Zion is destroyed and everything and no one will come into the matrix and he doesn't have to exist. And that is his only purpose. He wants it to be like over. Maybe he's just as special because he is, you know, he understands this and he goes for this go, like no matter what. And that's why Agent Smith is Agent Smith. If I made myself clear at all. Would it be correct in summing up your theory that he's different because he got a different set of random properties? They just, they were just perfect for this situation.

8:31It just aligned to be like, oh, it worked. Yeah, yeah. Like all the, all of his like personalities, like. I mean, the probability of that would be like one to like a billion, but it's possible. Well, yeah, but that's, that's how life works. You know, it's, it's chaos. Actually, even more than that, probably more than one to billion. Because when you get, are you okay, Phil? He's dead. When you get into probabilities, you get into such high numbers. By the way, did you know that, this is so interesting. What is he doing? Is he making a bed? He's going to bed? He's destroying my books. Sorry. Sorry. Go ahead. Put on your schlafmütze. Okay. Go on. I wanted to say that this is, yes, I can make this episode interesting with other tangents.

9:11As, as you, dear listener, I hope you're still with us. Yes. I mean, it's our centennial episode. Come on. Yeah. Open up another champagne. Champagne. So you know how I find this absolutely fascinating. Oh, let's not go there. Just one, just one each, one each. French champagne. That's too far. Just, just the intro. Sorry. You know how music, how everything is ones and zeros in the computer world, right? And how music, essentially all it is, when we take a song and we, let's say, take it from an analog source. Like if you took a record, you know, actual vinyl record, played it into your computer,

9:57recorded it as a digital file. All your computer is doing is giving you, I don't even know how many numbers, trillions, ones, trillions, ones, and zeros. Well, let's say, so let's say, let's do it like this. Yeah, go ahead. Let's do some math. So let's say, MP3, how many megabytes for three minutes? Bit rate and blah, blah, blah. A kilodon. What'd you say? What's the question? So, so let's, there's, so let's say like three megabytes per song, right? Mm-hmm. It's a pretty bad quality song. MP3, but like shitty 100, uh, 192, um, compression. And, uh, let's say, let's do the math, right?

10:38So we have 16 bit. I don't know what that means, but. No, no, no. So, so we have eight, uh, eight bits, which is a bit is one and zero, right? Why are you doing eight? It's supposed to be 16. Guys, what are you talking about? Oh, it's 16 if you go like that. Tim, we'll do this later. This is too complicated. Okay, you talk, I'll do the math. All about, yeah, all I wanted to say is this. All I wanted to say is that I, I found out, and I was listening to a long time ago a podcast about this, talking about the numbers. So a digital song is just tons and tons and tons and tons of ones and zeros, right? Mm-hmm.

11:19So skip this whole section. This is a bad idea. This is a bad idea because I. No, no, no. Where are you going? Come on. I wanted to say that because the person on the podcast was asking the other person saying, like, if we could, couldn't we replicate that song? Like, couldn't we guess the song in ones and zeros? And if we knew what those ones and zeros were, then we'd get the whole song. And the guy who was explaining this was talking about how that's actually, like, the numbers are so high. The probabilities are just insane. Like, there's so many numbers that, um. No, a real person, impossible. Yeah. That's what I'm saying. I'm just saying, like, of course you wouldn't be able to do this. I'm just saying that, like, there's so much information there that, you know, it's just,

12:01it's crazy. This is the stupidest section in the world. So 25 million, 25 million and a bunch of other, other numbers. That's, that's pretty low. Of bits. 25 million for a song? Yeah, for, for an RPG song. That's so much. Of bits. So that means you have to go one, zero. How many bits until it reaches a bit? What if you just put a... And one bit is, like, zero, one. That's what it is. So if you, if you put... Philip is dying of boredom. So if you put, um, just a, but what if I just typed in a bunch of ones and zeros 25 million times? What kind of song would I get? That's my question. I don't know. Well, I don't know. Okay, so, so, so, so how long, so let's say you have a piece of paper where you can write

12:41ones and zeros. Well, I should get Patrick on the, on the show. He'll know. So, you know. He loves math. Shout out to Patrick for listening. Okay, okay. So let's do some calculations here. So, so let's say if you have, what's the, what's the, what's the, like, half a centimeter for each square? I don't know which Patrick you're talking about. Oh, right. I was like, are you talking about Patrick our guest or Patrick we know? Patrick we know. Oh, yeah. That'd be awesome. Yeah. That's true. He is a math man. Yeah. So if he's listening, Patrick, we're talking to you. Yes, Patrick. Hey, we want you to come on the show and explain this to us. Well, we're doing so good. So, so, so, so let's say you have a, you know, those like math papers. We have a square, right? Yes. For each, for each number. How much is that? Like a half a centimeter? I don't know. You would know this.

13:21I can't remember like what it is. So I don't know how many kilometers would the line be for one song. It gets right down to one to zero. What is this? What are we talking about? I opened a Pandora's box. Yeah, yeah, yeah. And this is bad. This is, you know, I'm in over my head. This is horrible. I'm amazed there was no concept like Pandora's box in the Matrix movies. Also, can someone, yeah, I know. Also, can someone explain to me how vinyl works? Because that's insane. If you think about it, if you think about it, the grooves. It's not. Yes, it is. Listen, this is why it's insane. It's the simplest one to explain. Okay. Tell me how in the world. What is sound? What is sound? Tell me what is sound. Vibration. Yes. What is vibration? So every object oscillates, right?

14:02Yes. Yes, by pressure. The, you know, the field that goes in and it kind of oscillates all the things. Yeah. I get that. I get when we're talking about a sine wave. Yeah. A sine wave is easy. Ooh. Right? No, no. Sine wave is just simple. It's a wave that's, you have one. Curve. Ooh. Yeah. Ooh. Ooh. Like, you know, a sign that just like goes up and down, up and down, up and down. Phil, you are so bored. Well, let me just finish my question. But this is my big question that no one has answered. And I would love to get an answer to it. It's like these grooves in the vinyl, right? Yes. Now, who is to say that there is so much information in those grooves? Couldn't, and that's going to make a song that's precisely recorded with drums and guitar.

14:45Yes. All the information. Yes. How is the information there? Because the element that is receiving the freak, all the frequencies, all the noise, all the vibrations. Where are the frequencies? Where? The needle. No, not the needle. When you're writing it, whatever your receiver is, a piece of metal, a piece of electromagnetic metal, whatever the hell it is that's shaking from these frequencies, from the sound, there's anything that vibrates in this world from sound. I know, but how do you get this complex recording into a groove? And how is it going to do? You just shake it the same frequency. You just shake it. You shake it, and it creates the groove for it. But there's so many different elements. That's why people say shake it when you're doing this. But there's so many different elements. Yeah, and then you put the needle in there, and it's shook the same way. It's like recording it. Because I am legitimately shook about this. Yes, but I'm saying that you were shaking it, and just going, do, do, do, do, do, do,

15:27do, do, do, do. That's the shake, right? But how in the world does it know how to play the drums, the guitar? It's just playing the sound as you hear the ear. Your ear vibrates as well. Yeah, how is your ear able to hear everything? It's your brain who deciphers if that's a drum. If the ear drum is the thing vibrating. I know what I'm saying. What's the trick? How do they figure out the trick? There's no trick. Your brain does the trick. Your brain recognizes the drums and the vocals. It recognizes it. Your brain all does that work. It's just a vibration. You know, your ear hears it. You know, it feels it. And then your brain goes, oh, I recognize that. I know, but there's not one vibration. There's lots of them. Yes. Yes. But it's all combined into one.

16:08I was saying, how do you get all these vibrations, all of them, into one groove? Because you recognize it. You just recognize the difference. So when you're sitting in a room, right? Somebody's hitting a drum, right? An animal. And somebody's a guitar on the other side. The Tiffany guy. The Lonely. They're both coming into your ear. You only have two ear holes. You don't have 15 of them. One for drums and one for the anvil. Your ear shakes from the frequencies combined. You know, it's all combined together. Oh, I see. Okay. So you're recording the frequencies. Yes. Yes. Because you're a receiver. You're a receiver. I have a question that how do you get all those frequencies into one single groove? Because you do. How? Because you do.

16:48Like your ear. Like how does your ear get all the frequencies into you? The recording doesn't differentiate between any noise. I don't know how they work. It has no idea what a drum is or anything like that. It's just one big... It's just the frequencies. So it's getting like... It's getting like... It's getting the full spectrum. Yes. 20K. 20,000 hertz, right? Yes. Yes. Well, we can't hear 20. It's usually like around 15,000 or whatever. It basically... So it recognizes all those frequencies. Yes. And then it writes them. Yes. Yes. So your wave, you know, its time is going. And if this frequency is something... Don't give me that skeptical look. Well, because I'm telling you, man, I'm such a slow learner with these things. I can't still fathom... It's okay. I'm just like confused about this one. Me too. It's causing you problems.

17:29So let me see. It's like something more complicated. So let's take it back to square one. So we're in the studio. We're in the studio. Yeah. And we're recording everything to tape. Yes. Awesome. This is also some crazy magic to get onto the tape. I don't know how that works. It's all electromagnetic magnetic tape. Yeah. So we're getting the frequencies in there, right? A sequence of frequencies. Yes. That makes sense. Yeah. You can record anything. It'll print it onto the tape. Yes. That's beautiful. I love that. That looks great. But Jacob, Jacob, look at your logic file. Look what... Oh, look. It's a groove. Yeah. One of those grooves. Oh, how will the computer know how to decipher that groove? Look how many grooves, though. There's many of them. There's different tracks. That's how it is on the needle. I mean...

18:09That's exactly how it is on the needle. Yeah, but the needle has to combine them all. No, because it's all combined. Look at them. Look at the groove. Yes, I get it. It's the same thing on the needle. I get it now. I get it now. But I'm saying that what's to stop me from carving up my own groove? Do it. But I won't get drums. I won't get drums. No, you won't get drums. You'll get some kind of cool music. You get some kind of noise. So you guys are telling me that it's so magical that these frequencies, you just record them, and then you can print them out into a groove. You don't even have to print them. There's a machine that will write the groove as you're recording it. As you're recording it. Yeah, it is amazing. The microphone... Guys, I'm telling you, it's magic.

18:49I'm not joking. Like, that still, to me, is magical. Dark magic. I mean, it's just as magical as the photograph. That's amazing. Yeah. Light being printed. Yes. Come on, guys. These are magical things. A chemical process. I don't think it's sarcastic. There's this lovely book. I loved Encyclopedias as a kid. And this is what actually helped me a lot, because in school, I didn't learn jack shit. And I loved seeing pictures of, like, basically, the process explained how things work and having cross-sections of machines. And I just, like, sucked all this in. Can you send me those? I think it's very important for, like, kids just to have, like, a minimum, like, understanding of all these processes, so it doesn't seem like magic.

19:30I agree. I wish I had minimum. I'll lend you my Encyclopedias. I have, like, 30 of them back home. That's why, for me, like, I understand the concepts, but, you know, in the digital world, it all makes sense, because it's all just ones and zeros. And I think it's good. You know, recombined. But in the analog world, it's just, whew, I just don't understand. It's, like, so cool. And I think it's important that Pip, the kids, understand. Pip, our good friend Pip. I love Pip. He saved me when I was in trouble. Is he related to the peeper? Yeah, yeah, yeah. The rare Amsterdam peeper. I think it's that, uh, peeps. Inside joke from our podcast episode. Found Jake in Conversation on iTunes. Go look for it now.

20:11Understand the concepts, because they can appreciate. They can appreciate the work that went into it. They can appreciate the ingenuity of humans and our intelligence. And not be, you know, then, like, oh, it's just like a camera. It's not a camera. People thought of this. They had ideas. And it went through a process of, like. And you know what's interesting, Tim? That you're talking about this. One thing that I find that I'm very appreciative of is that today, I think we take for granted in the digital world, you know, when computers were invented, it basically unlocked this ability to do infinite possibilities, right? You can do anything on the computer. It's just, the imagination is the limit and processing power of the computers. Yeah. That's amazing. Because when you think about it, before the computer, you had analog, dedicated, mechanical

20:56machines that did one, typically one thing. Mm-hmm. Right? Yeah. So we're talking about a vinyl record that just did one thing. Yeah. If you wanted to play something, you could scratch your nose if you really wanted it. Yeah. But that's about it. You're saying, like, you had to build a tool that would do this, perform this action. Remember how we learned about the film projector? How the film projector works? That's some ingenious stuff. Yeah, yeah, yeah, yeah. Like, that is so clever. People have to think about this. Yeah. And think. It took a while. And it wasn't like somebody sitting down and thinking of. And the crazy thing is you had limitations with a physical, physical limitation. That to me is not blowing. The first man comes in and goes, I want to make a film. How do I do this? But think about it, dude. The physical limitation means that you can only use objects in the real world and materials in the real world. That to me is mind blowing.

21:36And people came up with these things. Yeah. It's crazy. And they created them and they worked. Mm-hmm. They worked and they made something that worked. That's just to me mind blowing. Yeah. Now they will make machines that will create artificial realities for being enslaved by. But do you know, this is kind of in the topic of AI. May I? Anyway, I just wanted to mention Goro Fujita, who is a... What? Goro Fujita, I think. I don't know him. He's an artist and he uses digital tools and he... I mean, this is nothing new, but our friend Danny, who is probably listening, showed me yesterday like a video of him going into Oculus Rift and actually just painting a whole city street with people moving and everything. That's lovely. Isn't that cool?

22:17Yeah. That's cool. Yeah. I want to do that. So... I will be in my own matrix. I will be in my own matrix. Because I'm atomic... So AI, right? AI is complicated because the way we got our brains to work, you know, the evolution, not the way we thought of it. Yeah. We got it to work. We got it to work. We did a great job. We got it to work with our... No help of ourselves. But to get the AI to have a brain of a capacity like us, you know, machines are great at repetitive tasks, you know? If you... If I told you, Jake, to for the next 50 days, just do one plus one every day for 50 minutes, you would die.

22:57You would chew yourself. I'd probably screw up. But I'd screw up after an hour. Yeah, yeah, yeah. And it's like being like... I'd give you wrong results. Yeah, like Bart Simpson. You'd tell that to a computer. At the beginning of every Simpsons episode. He's doing one plus one? He always has to write, I will not talk back. Yeah, that's true. That's true. You give that to your computer, he will be so happy to do that for the next hundred years. Yeah, yeah. And never complain. Did you know the computers? You won't believe this. Are you ready for a cool fact? This is actually amazing. We think the computers are perfect. Guess what? The logic that runs computers is not perfect. That's because we made it. It's not perfect. That's exactly my point is that people have... Now we have pretty strong hardware. We have pretty good operating systems and everything. It's pretty cool for the way we use it.

23:40But to actually create AI, we don't have the capacity to program a program that is capable of AI, of artificial intelligence. Because you have to think of everything. No, you don't. You don't have to think of everything. Well, that's how... So you know there's a lot of AI neural networks and all that kind of stuff. Tim, I think the problem is that you're approaching AI from the wrong standpoint. No, no, no. But there is no wrong. Yes, there is. There's not wrong in the moral sense. We're talking about wrong in the not beneficial or sense that you'll get anywhere with your AI. Well, no. There's a way how to create AI. And I just wanted to go and talk about it now. I was just going to say that the way you create something like this is by making...

24:23You know how simulations work for like on the computer. Like you want to do a simulation for water, simulation for that. You're just creating boundaries and possibilities for how the thing will start working. Yeah. But you don't control the way it works. You control... Yeah. You don't... You let it go. Yeah. And it does this thing. And so with AI, you have to create the perimeters in which it will be able to learn something. Yeah. And it will start being... Start... You know, this is the thing we talked about earlier is that you cannot... Tim, I think when you're making AI, this is the problem. Why people who are making AI now are realizing that they have to... The only way we get anywhere with AI is if we mimic how the human brain works. Because the human brain works... We don't even know like half the stuff.

25:03Perfect. We're done. And it's still the project. Finish it. It's not even the problem that we don't know how it works. We don't know how it got there. Exactly. That's the problem. Because you have to go from simple to complicated. Even if you figured out how the brain works, you can't just go like, oh, here it is. Exactly. You have to start somewhere. You have to go from the idiot, the monkey, to something more complex. So I just wanted to give you an example. The CGP grade did a great video recently about this. Of how modern AI does. You know the AI that figures out like if it's a picture of a banana or a hot dog? No, no. But it sounds like plausible. So basically you have... An AI is just like...

25:44You have lots of instances of little objects that their entire sole purpose is that... Let's say you have a factory that creates these little objects. And their job is to compare pictures of bananas and hot dogs, right? Mm-hmm. And then you give them images. And then you give them images. You know those pictures that ladies take of their legs and hot dogs? Yeah. And then you give them images that a person already... Like, you know, when you're doing like I'm Not a Robot, you know, you choose the pictures on Google. So those pictures are used that are human. I don't know what that means. Okay. So you know CAPTCHA? You know CAPTCHA? Oh, yeah, yeah, yeah. I know. And then it tells you to show me pictures of cars?

26:25Yes. So that information is used for AI. So those pictures are then inputted to the little robots that are being created. And they, you know, the system knows if it's a hot dog or a banana. Based on the information they got. But the little robot doesn't know, right? Mm-hmm. So then it gives it the two images and it tries to guess, right? And if it gets right, it goes forward. If it doesn't, it dies. And then a new instance is created. And this happens over a million times. So the problem is that AI, we don't actually know what's happening. Right. They did another video I watched. We didn't watch this together, Phil? We talked about, they talked about the video of how YouTube implements an algorithm to filter out, to guess, to give you the best recommendations.

27:07Yeah, yeah, yeah. It's the same thing. Like you said, Phil, parameters are set up. Mm-hmm. Saying, like, Tim, what you're saying, it runs this. And the more it runs, the better it learns, right? Yeah. Yeah, it just creates better instances. And basically, it's just a percentage. The percentage goes up of the sort of... Yeah. You could call it success rate, but really what it means is just the percentage goes up of what it's supposed to do better. Yeah. Which is interesting to me because if, you know, we think of AI and we think of them very lifelike, you know, their motivations are to survive. You know, always like, oh, the machine is AI so smart. It begins of love or intellect or something like that. But if the beginnings are like this... So let's say your organism, right? And your motivations to stay alive is to reproduce or to, I don't know, you know, whatever.

27:55So of course, sexuality is in a thing. So love and things like that. But if we start with AI, of their motivations to not die is to recognize a picture, I'm really curious of what the complex AI will turn out to be when its humble beginnings is not to reproduce. It's like, I have to tell if it's a banana or not, or I will be killed. You think that all of them as AI write philosophy books like the banana and the hot dog? Oh, yeah. Their Plato will be, there is no banana or hot dog. They're the same thing, those creatures that are above us in the shadows. That's amazing. And they'll be like the banana religion and the hot dog religion.

28:35Because it creates instances of itself that we can't look into because they're too complex. And also it's not what we're used to. Yeah. What if years later, years later, when it's a more complex AI, it's actually based on these few instances. I don't like this. I don't like this idea. This sucks. This is a horrible future. It's a banana and a hot dog. I don't like the banana and AI. Robots. That's amazing. But it's true that we're talking about. You are my brother, Bananican. This is why I think it's going to get so complex. And we'll have to read books about bananas. Yeah. Because if you're going to program this AI to get better, you have to give it motivation. And the motivation must be not to get deleted. And then you have to give it like a control system.

29:17Like, why wouldn't you get deleted? And if it's like recognizing pictures. It's so weird. If you think about it, like these AI things will be strange. Like aliens. Yes. Yes. Lovely. I can't wait. Then you can make great alien movies. Can we shoot them over into like the alien world? They can be our ambassadors. I just want to have a conversation with these things. You know what's funny? I have a great joke. I used to watch. I used to watch. How am I starting the sentence? There was a video. You stopped watching Mad Men? No, no, no. Three seasons left. Oh, man. It's a great show, by the way. I was going to say, Tommy Wiseau, right? Yes. Fairly recently was on Jimmy Kimmel. This is old news at this point.

29:58But someone commented and said, I'm so glad Tommy Wiseau is so friendly because he'll be the only communication we have with the aliens when they come. Yeah. Ambassador. He'll be an ambassador. So, guys, I wouldn't be laughing at him. He's an awesome guy. Yes. Let's get back. Okay. What is that? Phil, take us back. I think this is our longest detour to date. It's okay. I don't care. It's the 100th episode. At least it was in topic. It was. We talked about very much. That's why I let it go. Oh, cool. Yep. Are you telling me I can get away with any side story as long as it's on topic? Well, look, Jay, we only have about 40 episodes left.

30:40Perfect. Every episode, each side story. Come on, Philip. Tell us. No, no. We have less than 40. Okay. So, Agent Smith gets angry at Morpheus and he just grabs his head and goes. He's going to give him a big smooch. That's an interesting thing you mentioned. And the difference between, like, there isn't much of a difference between hatred and love. And the action, you know, like, your bodily language, your body language on both sides are quite similar. You know, the opposite of love is indifference, which is what people usually say. Right. Yeah, yeah. I was just about to say that because I had on a stupid training and work.

31:23Yeah. The opposite of love isn't hate, but it's actually. And that's why hatred, like, that's why I'm saying, like, this is what makes it sort of creepier is because, you know, that's like when you hate someone, you're just always focusing on them so much. Yeah, yeah, yeah. And so, like, Agent Smith hates Morpheus. He really shows signs of being angry at him. And that just makes it more intense of a scene. Yeah, yeah. And, you know, with our human mind, when we perceive such things, we have an emotional reaction to it. Mm-hmm. Mm-hmm. Which AI needs to get into sometime. It's good. It's good. I like this. I like this. Yeah. And then he says that in the anvils are in. Humble beginnings. Boom, boom. And the anvils are just, you know, the people are forging their swords, ready for battle.

32:06And then we cut, finally, to the close-up that we all love. And it's the close-up of the revolving doors. The boots. And the boots are strutting in. They look, this is one of the best shots in this whole movie. Especially how it, you know, switches from Agent Smith getting angry and, oh, you're going to tell me you're going to die. I mean, guys, it's a great technique. Because it's building up to you thinking Agent Smith doing something crazy, you know, stabbing him in the throat or kissing him or whatever it's leading up to. The music is hyping it up because you forgot about, you know, what's happening with Neo and Trin.

32:47So, and then they switching it on you, doing the old switcheroo. Yeah. The little twist on you. That's what I love, though, because you do forget. You do forget in films when you're watching scenes, you're so into one scene, you forget what happened in the last scene. But when you come back, you're like, oh, yeah. Yeah. Oh, yeah. And, you know, the shot is like from below, shows Neo as an authoritative, forward-moving object. And he just stops for a bit. You see those cool boots. And it's also with a, you know, like a short lens. It's a wide angle. Oh, wide angle, right. And, yeah, it just looks so cool. And the lighting is from the top. And what are those boots?

33:27Did you ever do any research on the boots? We did once, right? I think we tried once, but it failed. So I'm going to do a little research. Do some research while we talk about some other things. Before we get into the lobby scene, which we're introing right now, I just want to say that this is potentially one of the most iconic action sequences. Oh, yeah. In the past 20 years. 20 years. I still can't think of any. I think it's one of those scenes. I mean, maybe the raid or something like that. Yeah, but I mean, like, it's been so used in games and parodied and referenced.

34:08And it's just, it's interesting because when you think about these scenes, you don't, I'm sure when they're making the film, they're never expecting these types of scenes to be iconic. Right? So the choices they make for the set design, for instance, like this green building just happened to be green. You know? The Emerald City. Like, I don't think they had too much intention. Well, actually, I don't know about that. But the point is that it's an iconic sequence. And we're going to get into that sequence next episode. I don't know if Tim has any info on the boots. Well, the... You can buy them on Amazon. They're currently out of stock, but you can actually buy the... Original movie pop Matrix and the Neo's boots. Yeah. And they look really weird if you look at the whole thing because they've got some weird logo.

34:51They don't look like that in the movie, though. They still do. Look good. They don't have those little triangles. Well, you don't see the triangles because he has pants. Oh my goodness. That's so weird. Hmm. Those look like the ones, man. They have little belts on the side as well. For some reason, the... I think in the movie, they just colored the... Yeah, the tips. Yeah. The tips, they colored black. Darker. Darker, yeah. And maybe they removed the little triangles. Yeah, let me see. No, no, no, no. There is a bit of a... No, the triangles are there, man. Yep. If you see the coat, when he moves, the triangles are there. Yep. And what we're talking about is their triangle shapes on the buckles. So instead of laces, the boots have buckles. And on each strap before the buckle.

35:35And also the logo is actually on his boots. If you look at the frame by frame as he's walking in, at one point when he's moving his right leg forward, he moves this coat and you can see the logo. I see it. I see it. Oh. No, the high... Yeah, the big thing. Oh, I see it. Between the straps. Between the straps. I see it. Excellent. Excellent podcasting. What an amazing podcasting to your listeners. You have tuned into. Listening to a man going, I see it. So those are the boots. I see it. I see it. These boots look... Boots. Boots. Dear listener. These boots look ugly. Dear listener. Sweet listener. These are the ugliest boots I've ever seen. They look so cool in the movie, but looking at them in the real life, ugh.

36:16Do you know what? Who could be wearing these boots? People at the club. Oh, yes, yes, yes. At the beginning of the film. Maybe that's where you got the idea from. Yeah. I saw these boots in this club. They're so cool. I don't want these boots anymore. Tim, you have to change them to make them a little more black. Yeah, change them. Make them less silvery. Yeah. Can you imagine Tim wearing these? Yeah. And you should wear them in the summer, you know, with your shorts. I'm just having a little guy walk behind me. Okay. This episode is officially over. Okay. We're going to episode three of the week. Thank you, dear listener. Sweet listener. Sweet listener. For listening to us. Sweet, sweet listener. If you're still here. Go to Facebook. We have gone astray, but we'll do it for you.

36:59We'll do it for you. And we'll be back for you on Friday. We'll come pick you up. Yes. Yes. Thank you.