Minute 103: “Kaboom! Kaboom!”

Transcript

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

0:00Welcome to the Matrix Minute! Okay, sorry, I was gonna go all the way. I'm Phil. This is the podcast where we discuss the first film one minute at a time, and here we are with another beautiful minute with the wonderful Crystal Beth. If there was any avatar that has to master all the elements of minutes by movies, movies by minutes, I reversed that, it might as well be Crystal Beth because she's everywhere. I talk about lots of movies all the time. It's the best thing in the world. Yeah, exactly. If only I could get paid to do it. I gotta figure that out.

0:41You'd be a millionaire by now. A kajillionaire. Kajillionaire. What was the number? A hundred million? A hundred, yeah, a thousand million. A hundred million. A hundred thousand million. Oh, by the way, I have some, I have some, all three of you yanks, I have some, I have to criticize you. Why do you guys keep calling numbers wrong? It's not a billion. Oh no. It's a milliard. Stop it. Stop it. It's going to be using me all the time. The billion milliard issue. Yes. What? It's not a billion. So, so, so, so, so a billion is not a, a billion is what comes after one more zero. That's a milliard. So a hundred million is a milliard, not billion. A thousand million. A thousand, yeah, a thousand, a thousand.

1:21A thousand million is a, is a milliard technically. Yes, yes, yes. I'm sorry. Do you think you know my numbers? Who are you to tell me what numbers are? Yeah. Mr. Mr. Number Man. Mr. Yeah, yeah. It's bad that you guys don't use metric, but then you can't even, guys, guys, come on. You can't even, yeah, we can't even get a technical thousand million. But it's weird though, because if you think about it, so then like box office for movies and stuff would be like, oh, you know, like. Yeah, Avatar made 2.9 milliard. A milliard. Yeah. Yeah. People would be like, why are you saying that weird? There you go. Didn't we talk about this before? Exactly. Didn't we? Exactly. And we realized that it was probably because a millionaire turned like a milliarder and then he thought that doesn't sound cool.

2:03So he'll be like, oh, what if I use that one above and call myself a billionaire? And that's, since that's. I think that's not what happened. That's not a billion. Just to differentiate yourself. Yeah. Yeah. I think that's probably what happened. And with that, we segue into. A minute milliard. Yeah. A milliard different billion debris pieces that start falling from the walls there and the pillars in the final, you know, lobby scene minute. And we're very happy to have Crystal Beth talk us through it with us. Yeah. Yeah. And this is what happens. The cool lobby fight continues. Music blasting and Neo doing flips.

2:43And after a triple kick, the two of them killed off the defense. Trinity picks up the bag and they walk into the elevator. That slide to the bag is badass. Oh, yeah. It's amazing. Trinity's got the best moves for this, doesn't she? She's got the best moves. She knows. She knows. So in this next half of the lobby, I keep calling it bullet-time sequence. What am I talking about? Wrong, Philip. It's not yet. You're spreading misinformation. As usual, I spread misinformation. So I just want to talk about this next minute we have here as it starts with Neo firing in slow motion. Slow motion. The music goes into like a really awesome kind of buildup.

3:31And let's just talk about Spy Break. Because I really want to talk about Spy Break. Propeller Heads. Big Beat. Sorry, we're left hanging over there. That's how I'm going to talk about it. Listen to Phil replicate Propeller Heads. Listen to replicate the entire song. Okay, okay. Now music. Start from the beginning. Phil, Phil. See how much you can get from your recollection. Let's do it. I'm going to pretend. The short one or the long one? The short one. I don't know. Okay. The short one. Okay, so I'm going to pretend. That's the one that's in the movie. Yes, you're right. Yeah. And on the soundtrack as well. It's the short one. Isn't it? The radio mix? Yes. Yeah, yeah. So I'm going to hit play right now.

4:13I'm like skipping to what was it? Track like three or no. Okay, I'm on the soundtrack. Okay. Spy Break. Play. It came with me. There you go. Okay, that's enough. Yeah. Wasn't it like this scratched? At the beginning though? We have to go up a key. Well, no, because in the movie it just goes. It doesn't go. Oh, that's true. I was playing the soundtrack, my friend. Misinformation. I got the right formation.

4:53You got the right information. Accurate. The right formation. And then it goes. Find Phil's version of this song on iTunes. Or there's a wonderful acapella one that someone made. It's beautiful. That's how we're going to make some money. That's how we're going to make money. You got to sell these. Yeah, we sell my embarrassing beatbox version. But the thing is, we won't make money because it'll be only on Spotify. People streaming will get like, you know, two cents. A hundredth of a cent. Anyway, I want to talk about Spy Break. That's worth it. Hey, you're getting paid. You're right. That'd be amazing. Just like trying to recreate it. Getting paid to make your mouth noises. There we go. If you start a YouTube channel, maybe people would like it so much that you could do every

5:34movie soundtrack. Oh, that's going to be great. Every score. Completely. Then you'll be demonetized by YouTube because they'll say... Nope, you can't. It's okay. Okay. Just do it in the wrong key. Nah. Okay. So Spy Break. Yes. Spy Break. Why is it called Spy Break, first of all? Well, because it's a reference to older kind of like spy movies. And in fact, it's very similar. It sounds quite similar to the Peter Gunn theme. If you know what that one is. No. No. It just... You've heard it. You've definitely heard it. It's by Henry Mancini. Can you sing it for us? Yeah, yeah, yeah. I will. I will. Hold on. Hold on. Because now I have Spy Break in my head and I can't like...

6:17What's it called again? I have a lost. What's it called again? Peter Gunn with two N's. And it's a spy kind of thing. Okay. So it's like a riff, not a riff, but like a reference type song to that flavor. Yeah. That's cool. By the way, I was wondering, with Spy Break... Because Propeller Heads, they sample a lot of stuff. Oh, I know what you mean. And so with Spy Break, is this an original bass riff or is it sampled or no?

6:57Do you know anything about that? I'm not sure. I'm going to run to the site to check it. I'm going to run to the site. Well, yeah. Because I'm curious. But we all know that Propeller Heads, they just formed in 1995 and they're just Alex Gifford and Will White and they made one album and that's decks and drums and rock and roll. Yeah. All one word. Yeah. All one word. Yeah. I like that album. It's... I mean, we have some nostalgic ties with that, don't we, Jacob? We do. We used to listen to that. I love that. I had the Matrix soundtrack, so I listened to just that one song. I mean, as one should. One thing I liked when I was looking up Spy Break information, because I was like, well,

7:40that's basically the base of all, like over half my minutes. So might as well look up stuff. I actually laughed out loud at my computer when I was reading what other movies include this song. Okay. And Dogma, Inspector Gadget, Spy Kids, and Chicken Run. What? What? Chicken Run and Spy Break? Yep. Wow. I gotta check that out. When was that Chicken Run? And then Chicken Run was the one that made me die laughing. I was like, that's insane. I don't remember that. Was it like a... I was trying to remember, too. I was like, was it... I think it was when the... With Chicken Run, when they were doing their... I think it was an homage to The Matrix.

8:22Yeah. I was gonna say, it must have been an homage. Yeah, yeah, yeah. I think it might have been like a little... They were like sneaking around. Oh, yeah. And it started to fight. I think it was like slow motion chicken fighting or something like that. Yes, yes. Something like that. Man, I gotta watch that movie again. It's good. Yeah. It's actually a really good movie. Yes. Absolutely. It's classic. I totally agree. Oh, I found the bass line. Okay. It's a 60s, 70s kind of funk thing. It's called ESG Bam Bam Jam. I'll send you guys the link. Wow. Oh, awesome. So that... That's from that. Yep, yep. Wow. Cool. Well, there we go. Everything's a remix. Everything is indeed.

9:03So is this sequence. I wanted to mention that a minute prior, there was this wonderful close-up of Neo's coat billowing in a low-angle kind of zoom in, and you can see all the shells just bouncing from the floor. Tring, tring, tring. And you have that wonderful billowy coat going on. Yeah. Oh, you mean like the waves? Mm-hmm. Let's talk about the famous cartwheel. Is that a cartwheel? Yeah. I think this minute is more Neo's moves. The previous one was Trinity's. Yeah. So let's do it. Cartwheel. Yeah, so Neo starts to do it. Cartwheel. And then you wonder, why is he doing a cartwheel?

9:45But it turns out he's doing a cartwheel to, in the most cool fashion, pick up a gun. Oh, yeah. That was when we were talking before recording, I mentioned that I had a little story I wanted to talk about with that. Oh, yes, please do. When The Matrix came out, that was when my dad was teaching me how to handle weapons. Okay. He was teaching me how to throw knives and shoot guns. And I can remember my first gun that I ever had that was my own was a little CO2 cartridge pellet gun. Okay. I know those. Yeah. A little tiny little guy. I used to crawl up into the attic and shoot squirrels with it because my dad couldn't fit up there and he needed the squirrels to get out, which is why my weapons training started.

10:30Whoa. But I remember after The Matrix came out, I was like, that is so cool. My dad used to let me unload the gun and take the cartridge out and practice doing cartwheels and picking up the gun. What? No way. That's awesome. Your dad's awesome. What is this amazingness? Dude. Yeah. He never let me practice with it loaded. Okay. So I never know if I could actually shoot. But I was able to practice. It's very hard. The question is, did you actually pick it up? I'm also, I'm not athletic and very uncoordinated. So that was difficult. Just the cartwheel in general. But doing the cartwheel and lining up my hands so that it would definitely land on the gun was the easiest part.

11:11But as I would go to pick up the gun, I would get like caught in it somehow. So like I'd get it, but I could never get my finger like right on the trigger or like right on the handle. And the few times I did, it would, as I came up, you can tell that you wouldn't be able to aim it. But I felt so cool because I would like do the cartwheel and I would practice different ways to like do the cartwheel, pick up the gun. And then like I would wear a longer coat and I would do that coat on my knee twirl. And like, you know, when you can, like you've got my gun in my right hand and I would bring my left arm around and like under my right arm to shoot.

11:52I'm doing it on the couch right now. That's amazing. And I would just like flip it around. I'd have the gun and I would do like the side ankle kill. And I wish I, that my dad would have thought to take a picture of that or videotape it. Yeah, that would have been good. Times like this. Yeah. You gotta have that. Yeah. But he also made me start with a stick. That's good. You know, good call. Yeah. Yeah. So you don't get, he was like, just see if you can do it with a stick first. And I was like, okay, let's start with a stone age technology first. It's a sharp stick. And then you can move up to advanced weaponry. Yeah. Just like throw the stick. Which reminds me of a story that,

12:32so when we were kids, all three of us, we did these Matrix movies. And for one of the movies, Which will be shown sometime, someday. No, it won't. But we were planning out some moves. And of course, you know, you try to pick up some of the stuff from the Matrix. And I really want to do, like you, the cartwheel thing. Also, I was an incredible, unathletic, so cartwheel impossible to do something like that. So I thought, why don't I just do like a roll, you know, like a classic roll. And then the gun's on the floor and I roll over it. And as I, as I come out, you know, I come with the handgun and just like, you know, with two hands point and shoot. So that, that could look cool, you know, from a lower angle. So I was like, I was going to suggest this to you guys,

13:13and I was, I was going to practice it. And so I put the gun there, this is on the carpet, and I wanted to go it, but I kind of like miss the hands where, where, where, where the gun is. And I basically roll my head on, on the, the really hard metal gun, just, just like slamming my head into it. That was like the biggest pain. And that's the last time I tried that. So super successful. If only we shot that. Yeah, that was, that one didn't make it into the film. Unfortunately, that's done. Oh man. So that's the poor man's version. When you're like a kid, you have like, you have ideas of like, these moves will be cool. And you have, you don't think about how to execute them. It's just like, it'll work. It'll work.

13:53And it works. No, no, you have to try hard to start with the stick. I wanted to say, it's amazing how, uh, we all have cartwheel stories. Yeah. With guns. You do too as well. We love cartwheels. I want to say, um, this is classic trickery, right? Where Neo does the cartwheel and then it cuts to a separate shot of him grabbing the gun. Oh yeah. And the music stops. But it's so effective. Yep. Cause you're like, Oh my goodness. That's what it's about. You're like, wow, he did something and not Trinity for once. Everyone pay attention. Pay attention to our hero. Our hero. Who's totally in slow motion. All these like jumps and everything.

14:33There's just no way you can actually, like, that would be a good strategy. It's ridiculous. Because it's like, sure. Okay. They're moving in unpredictable ways. So they don't know where to aim at, but they're just right in front of them really. So it's like, it doesn't matter if you run it or cartwheel through it. It's still the same object. That's like very, very easy target. It's almost like, imagine Neo, like, you know, spinning like a ballerina or something. It's the same thing. Oh, like spinning around with like two MK, uh, you know, 360. 360. It's like, just 360, just kill everyone in the room. We can't find him. He's too fast. He's like a Beyblade. Yeah.

15:15Yeah. So this is one of the, again, you can see the strings here. If you kind of freeze frame and go, go through it, you can see Neo. You can see the strings? No, you can't see the strings, but you can tell it's a string. Oh yeah. Well, you can tell where the, where it's holding him up. The, the, the cartwheel shooting, the one where like where he's on one hand and shooting with the other hand, that that's definitely, because the physics are amazing. Cause like he, he puts his hand on the ground and he's supposed to finish the cartwheel, but he's still in the same place. So it's like, he's going to fly up. Oh, he basically doesn't hold on the entire time. He kind of slaps the earth. Yeah. Yeah. He's still half higher. You just need to touch it to make it look real. Yeah. Absolutely. Exactly. It's like a little, just like, boop.

15:55Yep. He boops it. Aw, he boops it. One finger. Boop. Just for extra flair. And then he's, M16 is out. He's done with that. And then he moves on to the micro Uzi. The Uzi. Whatever they are. The Uzi. Yes. Are they micro Uzi or just Uzi? Uh, internet movie firearms database says they are micro Uzi. So they have to be micro Uzi. Yeah. Yeah. So that's what they are. It is written in stone. Well, I mean, look, these guys are so good at their research. They actually retcon something they thought was true about one certain gun model, I think in the matrix. Okay. So I think that we can take, because they actually called the props department in Australia to confirm which one it would have

16:37been. So that was, these guys are so cool. I want to meet them. Right. They must be very bearded, very bearded men. So when Neo uses these Uzi's, um, he kind of, he kind of tiptoes through the hallway shooting people. What do you guys think about that? Do you think it's a cool move or do you think? Well, okay. Let me see. Oh, just a little, like a little bit of the left. I forgot about this. Yeah. I feel, I feel like that's how it would look like in real life. Yes. That's the thing. Like, like all the moves are so cool, but this move, I felt like they could have maybe like shot it a little bit differently or something. I don't know.

17:18Yeah. Yeah. It needs a little bit of John Wayne. again. Uh, it's pulls out the micro Uzi's in the middle of the minute and it's a wide shot. And he's sort of like walking through the hallway, shooting people with the micro. Yeah. It starts like 33 seconds. He's just, he's just doing a little weird crab walk. Yeah. It's so, I mean, it's one of those things where I saw this young enough that I was like, yeah, that's, that's how you'd walk. Right. But as I'm older, I'm like, that's how you fight the micro Uzi's. Yeah. Yeah. You gotta go into a low lunge and, or like lunge your way across the room, get your squats in, gotta make your butt look good. Um, but he looks like a,

17:59like a child. Yeah. Yeah. Which I guess he technically is. He's new. That's true. That's true. He's just, he's trying to work it out. Symbolism. He violently throws the Uzi's afterwards though. I always thought that that little shot of him, his crab walk, it just, honestly, for the longest time, it just took me out of the sequence. Like, sort of like, oh, yeah, the crab walk's here. And then once it's over, like, good, no more. Because I think, we talked about the, the nature of it is they're very non, like, you know, strategy. Like everyone's just, you know, running and shooting. And it's like, you don't do any protective, you don't like, oh, he does hide behind a pillar. But it's, there's none of this like, oh, precise, actual movement, you know, like, I'm gonna cover you and look on the side.

18:39You know what I mean? So, so it kind of takes you out of the action. Yeah. He just turns to the crab all of a sudden. For some reason. I love it. I love it. Crab walk. And then, yeah, he chucks the Uzi's violently away. He redeems himself. Oh, yeah. With, with arguably, maybe the best move in, um, the second minute. Maybe in the whole movie. I don't know. Trinity's gun. Yeah. Shotgun into the back. This is pretty, it's pretty cool. Hmm. Well, no, he got some good ones in. Yeah. Cause then you have some stuff with Agent Smith afterwards. Yeah. Which is like, do you have a, do you have a, uh, do you think you can make up a really quick list of what the best moves seem to be for you in this whole sequence?

19:24Oh man. Um, the gun kick. Definitely. The, um, honestly, my favorite thing in the whole lobby scene is when he opens up his coat when he has all the guns in it. And I know that's not a move technically, but that is, I mean, he does some movements. That's fine. It's a power move. It's a intimidation. Exactly. And the guy's like, Oh God. Um, so that, um, the flippy gun part, like I said, the flippy cartwheel and the, the wall cartwheel, I guess it's everyone's favorite parts. Yeah. Yeah. I think about it. They're all the good parts.

20:05And I do, of course at the end, not really a move, but when the, um, whenever Neo is behind a column and it gets shot out almost to his body. Wait, that's awesome. That's not a move, but that's a really awesome thing. It is. And then, and then the music stops for just a brief second. And then two, and it goes up a key. Oh, can I mention something interesting that this is a very, uh, this is a unique shot. I think for the matrix that there's, there's no shot like this in the whole movie. I think, um, when he pulls out his micro Uzis and then one of the guys shoots the pillars behind him, the camera does this sort of shaky, shaky cam thing.

20:46Right. In front of, it sort of zooms into Neo's face with his micro Uzis and it has a little shake and it almost looks like a digital shake, but obviously that's not the case. It's probably real, right? Yeah. I don't know. Maybe it was zoomed in. It is zoomed in. Yeah. Yeah. I think so. Oh, you mean digitally zoomed in? Yes. I don't think so. Well, look at the shot. It's very identical. It could be zoomed in, right? Like zoomed in on the actual shot that we have. I'm going to stick to my Uzis and say that it's, uh, optical and it's, it's filmed separately. I don't know. I don't know. Sure. I just know. Are you, are you willing to bet money on it? No, but it's a shot that never,

21:27ever, there is no shot like this. I think in the entire film. No, you're right. Yeah. Yeah. Anyway, it's good. It's a good little smooth shake. It's awesome though. Yeah. It adds, you know, it's a punctuation. Oh, yes. I'm always just, I'm just going to keep beatboxing. Anyway, this wonderful slow-mo, uh, triple kick climb. I think, I think we all kind of like that. Um, so Keanu, as you know, it's interesting, uh, to think that he's very much of a perfectionist in this, uh, in this regard. And when they were doing the triple, triple click,

22:07triple kick, um, they said it was fine, but Keanu's just didn't like how it worked out. So he kept trying to get it better and better. And they were there for who knows how many hours repeating the triple kick until Keanu could get it super perfect, which is what he wanted. And, uh, I, I have to admire that sense of dedication. Keanu Reeves is the coolest guy in Hollywood. Him and Tom Hanks. Yeah. Him and Tom Hanks. There's another movie idea right there. Oh my God. Keanu and Tom. Great. It would, should just be called him and Tom Hanks. Just him and Tom Hanks. You're like him. And you're like, obviously Keanu Reeves. And everyone's like, Oh yeah.

22:48Right. Obviously. I never even thought of that. What do you think? He's like action or something? Oh, just them talking, telling me things are going to be okay. Just one long shot. That's perfect. I'm talking and telling that things are going to be okay. Yeah. That'd be awesome. Telling Crystal Beth things are going to be okay. Yeah. You're not in the matrix. Keanu. You're not in the matrix. It's fine. So cool. I would be so cool. Right. Yeah. Um, the way he falls in a wide shot is beautiful. Especially because I think that pose, the, the coat swaying there and the, and you know what makes it the best? Uh, the, um, Prince Charles guard falling. that tumble that he does beautiful. That's something that like,

23:30like the way he just falls like a, like a doll. That's been, I mean, his gun is flailing around on the floor. Yeah. And poor doll. Just, just mentioning that, uh, this is, this was, uh, in the storyboards that, um, Steve Scroche, Scroche, Scroche. I think it's Scroche. Uh, you would know that Steve Scroche, um, uh, drew, this is where, uh, the Prince Charles guy was drawn. So there's this police specify. Okay. Okay. So yeah, I was just about to ask. I was like, I don't know. Okay. I know. I know. I confuse people a lot of times. Um, so it's just a little joke that happened when they were storyboarding this. And Steve Scroche was the,

24:11he's the main storyboard artist. And when he got to this, uh, particular scene, uh, there was one guard that he drew that accidentally just kind of looked like, you know, the, the Prince of Wales, Mr. You know, you know, Prince Charles. And then, you know, uh, either, um, Lana or, or Lily, when they looked at it, it was like, Oh, it's Prince Charles. So just turned into Prince Charles. So this guy is the Prince Charles. Yes. Which guy? Uh, the, the last guy that gets. Oh, okay. Okay. Okay. Triple kick. And I just wanted to say that just that,

24:52that take is super perfect. And it's good that Keanu insisted on doing more. Yeah. I would have loved to just seen the alternate takes. I wonder if they were passable or if they were, you know, it'd be interesting to see. Oh yeah. So one more thing about the, uh, lobby, Owen Patterson, who's the production designer. He, uh, said that they kind of had the idea of making the lobby look a little bit like a mausoleum. Oh, that's interesting. Give it that kind of effect. Yeah. That makes sense. I think, I think it does. Everyone dies in it. Yeah. There you go. Lots of death that happens there. Everyone's wearing black. So the next thing is, I believe Crystal has something to say about the next thing. The. After, after Neo's kick is Trinity's slide. Oh yeah. Oh,

25:32okay. I was like, what do I have to say? Sorry. Yeah. Sorry. No, it's okay. I was like, I don't know what happens. I'm so scared. Um, yeah, that slide to the bag is so bad. It's so chill. It's so great. She's just like, well, that was fun. Cause I slide everywhere. Any chance I get to slide somewhere. It's my favorite. Well, I still have a question. How do you slide? Like, does it depend on what shoes you're wearing or what? Like socks usually. Oh, okay. Um, but sometimes like, uh, if I'm wearing, I have two pairs of sneakers that I'll wear to work and one have, has good tread still and the other ones are super slippery. So if when we're closing and we're in the middle of like,

26:12uh, cleaning up the bar, I'll run and slide. Just on the floor of the bar in my shoes. But it's, uh, I don't know. It's so whimsical and I don't know. Childlike, I guess. You, you share the sliding technique with Trinity. Yeah. That's cool. I wonder how much of it came from this. I mean, I, this was released when I was at an impressionable age and maybe I started sliding when I saw her do it. You can just pretend that. Maybe. Hey, you know, you, you, you never know. These things are so subliminal all the time. It's always like in the back of your head and you never know when these, yeah, things affect you in different ways. You don't know. Yeah. Yeah. Uh, what's awesome is after she does this slide, she picks up the bag and she also drops the gun.

26:52And I think that's like the period in that sentence is like, yes. And she walks casually away. It's so good. And you know, I also love that the gun sounds, my favorite, this is a weird thing to like, but my favorite, um, sort of thing that happens in films is when the sound effects of guns dropping, they sound very like empty, like, like, that's so cool in my opinion. Cause it's like, you know, they did this entire battle sequence and now it's just the, you know, the empty guns falling on the ground. It's like, it's done. It's done. Nothing left left to do anyway. So, uh, interesting fact. The next fact is that, uh, Trinity presses the button for the elevator.

27:34And we can see here that this movie was not shot in the States because it says, do not use lift. If there is a fire. Oh yeah. Tidbit. What are these strange words? Lift, lift is the non U S version. Yeah. I like to call it that. Yeah. I mean, I think things are changing, you know, things are changing. What are you talking about? We're taking away our elevators. No, no, but I think they're taking our elevators, taking our jobs, our milliards up the elevator. I mean, up the, up the lift. I like to say it because whenever it happens, people always do a double take to see if I had an accent any other time. Oh, really? Oh, testing mountain. Because, uh, you know, lift is one of those words that it doesn't really sound different with an accent or not.

28:16It's just a very specific word. Right. That you don't use in the U S. It's an elevator, but lift is faster to say. And I enjoy the looks you get. Nice. That sounds good. That's awesome. That's why you say it. That's why you say it. What's interesting is that in the matrix, uh, there's a couple other times in the film we'll talk about when there's signage and things that are not, that are, you know, Australian. They're Australian. Here's, here's the thing I wanted to check with you guys. Um, I've heard several times people say that, um, especially like from America that, uh, you know, you have buttons when you go in elevator and one is like to open the door and one is to shut door. And maybe it was in movies or I heard her people say like, Oh, the closed doors never work.

28:58Is that something you've experienced? Because here in Europe, they, they, they work fine. Well, you just press the button and the door closes on the, on the person. Yeah. No, they, they, I've had different experiences with that button. That button. Yeah. I call it that button because it is like my worst enemy because sometimes I really want that thing to close. Really do. So what's the point of the button if it doesn't work? That's, that's what I've heard. Like people say, Oh, don't, don't bother pressing the button. That's just there for show. But they, you know, it doesn't actually work. But sometimes it, it seems like it closes. I don't, what, what does Google say? I actually never Googled it. Does the, the, the door. It's in my office. We just press it all the time. Just like close. Stop it.

29:38So I got just to door and Google automatically was like, does the close door button work? Oh, really? Wow. So I guess people do search for that. They do. So close door buttons aren't all lifts, but they do tend to work when they are present. Oh, this is a UK article. Which is why they said lift like a real dumb, dumb. That's true. But it says, very dodgy. We have an equivalent standard to the American with disabilities act, which determines how long the door should stay open.

30:20So it's really, there's a built in delay and you, it shuts off the delay. Interesting. Okay. Okay. So it's not really. Yeah. So that's why it's super effective. Yeah. It's not super effective. Basically, if you are taking an elevator, you're already saving time going up the stairs anyway. So what's a few seconds? Unless you don't want the person that's coming in to join the elevator with you. And that is usually what the case is. Right. Then again, those seconds add up. Think about it every day. A second a day. Yeah. Second a day keeps it. That's 10 seconds in 10 days. That's 30 seconds a month. Well, you don't go to work that often. Anyway. We're losing seconds. Yeah. So yeah, that's pretty much the last thing I have to say.

31:01Anybody else? I just wanted to say that, according to Phil Osterhaus, the. Ah, yes. The assistant to the Wachowskis, who wrote some great notes about many things. after a few days of shooting, the lobby, everyone was pretty much convinced that there was nothing else to life. Really? Except sitting around in the dingy warehouse waiting for the pillars to reset. Crumble. So I guess there was a lot of. And another thing was that Bill Pope mentioned, who's a DP. He mentioned that when they started filming the lobby and it was all this, you know, they're getting all this footage and shots and he's,

31:41and he just got convinced that. Yep. This is probably the time where we all kind of knew collectively that this was going to be a movie that no one's ever seen before. So during filming, that's kind of the revelation, you know, like that kind of happens because I do recall we're using another star Wars. Um, uh, similarity where after filming in Tunisia, uh, and then they go into the sound stages, it was a completely different film for many people. And they were more encouraged to see it through than, uh, the arduous shots that they had to do in, uh, in, in the days. It's so cool. But here, yeah, but here's the same kind of thing. It's interesting how some people just get that. They like, when you're filming something, you would go, ah, this is going to be good.

32:22You know? Yeah. Yeah. That's always such a good thing. That's like when you're, whenever you have an idea for anything and as you keep talking about it, you're like, I am so confident that this is such a good idea. Yeah. Gotta do it. Gotta do it. Totally. Love it. And, uh, we have a wonderful, beautiful green, white shot of the, uh, um, elevator going. The lift closing. Right. Sure. Anyway. Um, yeah. So I think that's pretty much it. We, we got to the end of the bullets and the, and the, and the squibs and the shots and the guns. I can't believe it. This is it. They're dead. Oh, the poor dead people.

33:02And the pants were dead. Sorry. Cryptic joke. Yeah. So Tim, are you there? Yeah. Sorry guys. It keeps cutting me off. I didn't want to, I didn't want to disturb the flow. Can you hear me? you are the flow, No, bro. Okay. You are. Yeah. Yeah. So, so I was like, it was, it was cutting out. It's been cutting. It's very sad. I don't think they can hear me by the way. Yes. Well, I guess that's the end. I wanted to say, I've totally forgot last episode, but Crystal, where can people find you? That's right. I wanted to apologize for that.

33:44That's okay. Some shows just have me do it at the end of the whole week. So I just figured it was something like that. So no apologies at all. Sure. Sure. Yeah. It was, that's probably what you meant to do, right? You guys do a midweek. Absolutely. Yeah. Every time, every time. Midweek deets. That's what it is. So tell us the midweek deets. So midweek deets on Instagram and Twitter at the crystal bet. And you can listen to my podcasts, the unlimited, no, the fifth element and unlimited lives radio on iTunes. iTunes. Oh, and go to movies by minutes.com because all those shows are amazing. And I've guessed it on quite a few of them. Yes. That's, that's, that's, that's the fun.

34:24Yeah. Not only are, yeah, there's a ton of those episodes, like, uh, shows that are really good growing too, which is keeps growing a lot. Yeah. And it's always, uh, you know, it's always really fun to, you know, listen, you know, get in on a, one of those movies by minutes podcasts and keep listening. And then you just hear the familiar voice of crystal beth every time. And it's always a wonderful surprise. And now she's on this podcast. I feel so blessed. Hey guys, I'm back. Oh, okay. See you later. This is the matrix minute. All right. Tim's back. Bye. Bye.

35:30When I get my thing up, hold on. Long scene. No, no, no. Sequences. Cool fights. My notes. Okay. I have to, I, I, I write, I, I wrote what I, um, what I say.