Minute 106: “Dodge this.”

Transcript

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

0:00Are you going to drink that? Are you going to drink that soup of Matrix? Come on down to the Matrix Town, where we listen to Matrix Minute every minute, every time, three times a week. Come on down to the Matrix Town. We're going to tell you in Matrix Minute 106. Tell us, Philip. Welcome to the Matrix Minute podcast where we discuss the first one. Tell it louder, boy. Those in the back can't hear you. Speak up, speak up. Come closer. Speak up, speak up. Welcome to the Matrix Minute. Now, Philip, our newest disciple, yes. Tell the people. Well, yeah, yeah. Welcome to the Matrix Minute. You know the gist. Here we are.

0:40This is the iconic Matrix shot that everybody knows, everybody realizes. I was wrong when I was saying the lobby scene. It's this scene. This scene right here. We are now there. Are you serious? We are there. This is what happens. Let's get into it. No, no, let's take a moment. Oh, okay. Oh, monkey. Open the door. It's locked. Oh. Okay. Let's take a moment. Hold on a minute. Let's take a... Yeah, yeah, yeah. I need an organ here. Can someone play an organ here? Yeah, ready? Yeah. We're going to remember that because otherwise we'll look like fools. We probably will. This will probably go out with no organ. No organ whatsoever. But bring it down. It's so good though.

1:20Yeah, yeah. Okay. Yeah, so we will. Let's just take a moment to just get some perspective here. This is Minute 106. You know, when we started this, little did we know that we would be here to discuss bullet time. Amen. Remember that time? Remember that time where I was mentioning bullet-time being the most famous? Yeah. We were talking together. We were talking about it. You were like bullet-time. Episode three. Back then we were young. Yeah, we were little. Little. Little did we know. Too little. But now here we are, you know, we've changed. We're different.

2:01You know, like we ramble on even longer. That's right, man. We derail. That's completely true. Lost all structure whatsoever. Lost all structure. You know, trivia is gone. Gone. Basically, it's like the major... Guests once in a lifetime. ...is a silver lining. Guests once in a lifetime. Yeah. But the rest is just talking about anything else. Sticks and glasses. Swords. Let's just take a moment. Yeah, let's take a moment. Take a moment to... Stop this. Listen to episode four. Because guys, I can tell you for a fact that we were... Well, the last time we saw one of the time. ...in the first ten episodes, I was very serious. Yes. About this. Try not to, you know, be real. Honestly, I believed that we wouldn't get to this point.

2:44I really thought that we would be very serious for the entire show. I think it might have been the case if we... Look, I mean... What do you guys think? I think it's for all of us when I say that this isn't our number one project that we always do. No, this is the project. Come on. This is like... We haven't lasted doing something so much. That is true. And so precisely, you know? But I'm saying, like, when I'm not doing Matrix, I'm not really doing the Matrix. I'm doing other things. That is right. That is right. Or when Tim's... When we're not recording, we're not really... That's true. But still, but I mean, it's still a project. Come on. I know. But I'm just saying, if it was, like, just the only thing I would do in my spare time... So you're saying that if it was the only thing, you wouldn't?

3:25You would be more serious? No. I think I would have prepared... Do you know what? Do you know what I'm saying about that? And I would have... If it was my main project, this would be exactly the same result. Yeah? Absolutely. No, no, no. Because that's just us. Because, Phil, this is us dealing with it. I think this is... Because there's not enough material. There's no way you would research Matrix. It's a great movie. I would try. I would try my best. I think you see you... Every little drop. I think you fell into the bottom of that well. You scraped the mud. And you took it up. That's it. There's just no more. Think about this, too. You can't talk about... You talk about the themes of the Matrix. That only gets us so far. How many episodes can we talk about the themes? Like three episodes? Yeah. And then the rest of it is just us regurgitating the same stuff.

4:07Maybe people want that. So, we scraped the bottom of the barrel. Do you want that? I don't. I don't want that. We gargled. Why don't you make things you want? We gargled. But it's true because I bet you that we repeated so much stuff in the show. And sometimes I wonder, like, maybe you repeated it too much. Ask the audience. That's why derailing is good. But how about this, my brothers? How about this? How about tonight? We don't derail. How about tonight? We give an almost good episode. Let's try it. Let's go back. Let's go back. Let's do it. And just do the intro properly, right? Okay. But wait, wait, wait. Before we do this. We can't do that. Yes, we can. It's inevitable. No, no, we can't. No, no, no, no. We can do this. We can do a proper episode.

4:48But before we do that, I would like to just address someone. Yeah. And it is our dear listener. And I'd like to ask you. Is Jorgen still playing? If you're listening, you're probably listening at this point. And I just wanted to ask you really quick, you know, what do you think about the progression of the show? Or what's the opposite of progression? Digression? Digression? No. No, that's like a diversion. Descent? Yeah. Descent or... Decline. Decline. There you go. What do you think? What do you think about that? Is it cool? Do you like it? Or would you have rathered us to stuck to our format very precisely? I would love to hear from you personally.

5:30Yep. So you can... There's our calendar somewhere. I'm not laughing at you at all. I'm laughing in general at myself. And, you know, please let me know, let us know if you would like to on our Facebook page. Type a type a type. Or just email us. And we would love to hear from you because that's interesting to us to hear from you. You know, because otherwise it's just us three. And we, you know... It's just us. It's boring. That's right. So let's go back. I want to thank Johnny on the organ. Thank you, Johnny. Let's give him a little clap. Johnny, yes. So, yeah. Thanks, Johnny. So let's start over. And Phil, let's bring it back old school.

6:13And guys, let's do this seriously. Let's go. All right. Welcome to The Matrix Minute, a podcast where we discuss the first film one minute at a time because we just love this movie. Hi, I'm Phil, and they use a lot of cameras for this upcoming sequence. Hi, I'm Jake. You know the old thing. I still don't have trivia. Jake, you're so funny. And I'm Tim, and I saw this movie, I think it was two and a half years after it was released. Oh, that's actually interesting. That's interesting. Two and a half years after it was released. Yeah. Crazy, huh? That's really interesting.

6:54So, Phil, what minute do we have? Well, I mean, we're, guess what? I can't believe this, but we're already on minute 105. Cut off there, buddy. I didn't hear the last. Oh, no. My keyboard. My key key. Cut this out. No laughing. I'm taking this out. I'm home. Yeah, yeah, yeah. It's hard. Donnie, back in here. Come on, a little bit something cooler for Donnie. Come on. No corpse-ing. Come on, a little bit like, yeah, hello. Yeah, yeah, yeah, more salt. That's good. Yeah. Are you going to make these Donnie clips, then? Yeah, I might have to, though. I'm sorry, I'm sorry. And this is minute 106.

7:35So, if anyone's ready, I can talk to you about what happens minute 106. Take it away. Yeah. Neo shoots the agent, who dodges all the bullets at incredible speeds. Trinity! Help! Neo's emptied entire clips and hit nothing but air. The agent shoots back, but Neo actually does the incredible maneuver to evade all the bullets. He drops on the floor with minor injuries. The agent towers over him and points the gun at his head. But Trinity saves Neo once again with her own gun on Jones's temple. Dodge this. Kaboom! The agent transforms into the hapless dead pilot, and Trinity asks how Neo could move like they did.

8:17But Neo says, it wasn't fast enough. Man, so here we are. All right, here we are. This is it. I can't believe it. We're there in the iconic moment of the movie. So, you know, it's interesting that, uh, this is, there's actually a lot of, um, shots of this in the making of, isn't there? Oh, yeah. There's quite a bit of footage. This is extensively documented, this particular scene. The roof scene is like, most of the behind the scenes action stuff is coming from the roof scene. I just want to mention how when Neo starts shooting, um, his cape is billowing, like, Is that the right one, by the way? Yeah. Is it? Yeah. Okay. What does that mean? Waving? Yeah. Um, and... Because I think it's confused with bellowing. No, bellowing is yelling, is roaring.

8:57That's the T-Rex in Jurassic Park. Yeah, yeah, yeah. The T-Rex bellowed. Grant bellowed. Um, And, uh, the material that they wanted for the, uh, the trench coat was, um, it was going to be leather originally, but... That is interesting. They could not get that thing to, um... You're right. It does bellow. ...actually, like, move. Quite, quite, quite gloriously. And so they got a really, you know, and Kim Barrett, the costume designer, actually mentioned that it was a very cheap material that they actually got to do, to make this coat because it had to be light and it had to be able to, you know, bow in the wind.

9:38But it beautifully bellows. Yes, that's the idea. That's the whole idea. I think they dodged a bullet. No pun intended right there, but, uh, without, you know, making it not leather. I think that would be too much. I think leather, you know, kind of shows, like, uh, maturity, coolness level that I don't think Neo's up to the task yet, you know? And I think, I always find textile more cooler than leather, anyway. Oh, yeah. Because leather is tricky because it's very difficult to, either you don't take it seriously or it looks dated and silly or it's very hard to find a nice balance of leather. Yeah, I mean, Morpheus has the nice, like, what's that, crocodile skin or something like

10:19that? Crocodile skin, yeah. So that looks cool because it's got a texture, but, like, classic black leather, you know, like Metal Man, I don't think that would work. Yeah, no, no, no, that'd be bad. It'd be really cheesy. So Neo, I think, uses his final dual Berettas. That's right. But I don't know where he got them from. I think those are the... The guards? Those weren't the pants ones. That was in the lobby scene. I think he had ones that are still, like, sort of on his back. Like, he had, like, two holsters that you could... Ah, yes, two on his back. The old back maneuver. Yeah, yeah. Behind the coat. But I think this is just a really cool... I love that shot of Neo where it zooms in. I don't know. I think it's just cool. You mean when he starts firing and we get the agent doing his thing and then you get Neo back, cut back to Neo, and he's, like, just really super close up, like, 200 millimeter

11:03zoom. Yeah, and it's interesting because it's a testament to pacing and context in movies because, you know, a lot of times, if you think about this sequence, nothing really dramatic is happening per se in terms of motion. It's literally Neo standing there and the agent being shot at. Yeah. But the way it's shot... Ah, he's echoing a little bit of that duck walk from before. That is true. Oh, you're right. A little bit of duck walk. I think that maybe that's one of the things he learned, you know, when Tank... Tank? Yeah. Tank. Was giving him, you know, the little discs of information. I think one of them was this sort of technique. It looks like a sumo wrestler kind of move.

11:46Yeah. I would say. Well, I mean... You can make me do the duck walk. Cool, huh? But I want to get back to this zoom shot of it shaking around. I wonder, you know, the old saying, everything's a remix. I guess this must be a tribute or a reference to some kind of cinematic history, I would say. Like, do you guys know? Have you ever seen a shot like this before? Is this something iconic or... The closest thing that comes to mind might be like a Western. That is right. That's all I can think of. Yeah, yeah, yeah. Like a close-up and shooting it. Because it's very... It looks very, like, referential to something. Like, it reminds... It gives me, like, a feeling of... It's like an old movie. Yeah. Some old 90s movies?

12:28Could be. But I'm not sure. It's very intense. But then just... You know, just positioning to the other shot of, you know, the agent doing the dance of the many people. It's very big, stark difference, I would say. You know, this sort of very visceral zoom-in, you know, muzzle flares next to... Wah, wah, wah, wah, moving. I'm an evil monster. I was never really fond of this effect, I have to say. Okay, explain that to us. Explain that. So, Agent Jones, was it? Yes. Once fired upon by Neo, by many bullets of a Berettus, dodges the bullets... In a very weird way that...

13:11Similar to an effect we saw before with the many fists, is there's... Oh, yes. He kind of morphs around while traces of his past positions are displayed. So, it becomes like an octopus man with many torsos, but one like... They do look kind of funny when you zoom in. Yeah, they look crazy. Close up. He's just kind of, like, leaning a few times. And it's a bit strange. Sorry. When you look at the shot, it's a weird shot. Yeah, when you go frame by frame. And especially the weird frame, like, the little ghosting effect they had on. Yeah, that too. With the motion. Maybe they were having problems selling the effect, so they put in the ghosting thing.

13:52And it's just... It does not age, unfortunately. I don't think it even looked good back then, you know? I think people were like, oh, it's amazing. I don't know. It reminds me of, like, video effects, you know? Like, the effects we used on VHS, you know? Like, oh, the ghosting. You turn on the ghosting, and then you, like, fade a frame through. Like, it's very super, like, low-tech, early digital effects. Like, that's what reminds me of it. But the lighting doesn't even match when he's back in place, and then when he's... Well, I guess it does. This is weird, because I think this reminds me of kind of a problem some films face, is that, let's say The Matrix is a movie that tends to rely on a lot of

14:33sort of effects or things that happen in the film that are very grounded, in the sense that there's nothing extremely divergent visually. Like, for instance, you can have someone jumping around. Like, let's say the Kung Fu high jumps and stuff like that. They're still very believable because they're not doing anything extraordinary when it comes to the visuals. Like, they're not manipulating the image much. Yeah. Right? Yeah. And that's something The Matrix tends to do, and a lot of films stick to that sort of method. But then the question becomes how much of the video manipulation is good and how much is beneficial in a film.

15:13And so in The Matrix, it's, for me, The Matrix never found a perfect balance with that in some senses. Like, remember we talked about the fist in the dojo scene. The reason I think the fist didn't work is because it came out of nowhere. We weren't really familiar with that language, visual language. Okay. Yeah. So we're like, oh, what's this weird fist? Yeah. And it's the same thing, or fists, and the same thing with the agents. I don't know. It's like, I guess there wasn't enough of it to make us used to it. Okay. And also, you know, I think maybe if they did this today, I think they would have chosen, I guess it's to go with the time. They would choose a different effect. Maybe he would glitch around or something like that. Like, his whole body would be like, many places.

15:54Because the dance move, the dodging of the bullets, I never even connected it to dodging bullets. It just doesn't seem like he's dodging bullets like when you're watching it. It really like an intimidation dance of some sort, really, honestly. It's the funny thing. Yeah, totally. But this is the funny thing, though, is like, in a movie like this, and there are other movies that are more abstract and they lean on not visual effects, but storytelling methods. Like, so for instance, like the agents could still be weird and supernatural, but you wouldn't have to necessarily show it. They could cut between.

16:34Yeah. You see what I'm saying? Like relying more on just us filling in the gaps. Yes, yes, yes. And a lot of films do that well. And you know what? I have to tell you guys, after so long, I have to say that is still the best method. Right? The filling in the gaps. Yes. Because you are safe in terms of longevity of how long the film will last in a technical sense. Well, not just that. You're just letting the audience think. But also, it's an artistic method. Your own imagination is the scariest. yeah. I feel like the Matrix could have used a little bit of that. But of course, I think if I would take into context, you know, the Matrix was made in 98, 99, which was the beginnings of the digital, the digital, um, digital boom.

17:15Yeah, digital boom. And they obviously were excited. That's what I think. I think they were like, waiting to like, ooh. Well, it's on the storyboard, so we're trying to do it. Don't you guys think that's the case? Yeah. Yeah. Like very much like, let's, let's get to work. Now, speaking of the agent's, uh, intimidation dance, uh, I believe, truly believe, now we're going full circle from back in episode one or two, or even the introduction. Those are, that's one of the first, uh, like toys that I saw, uh, collectibles or whatever at, uh, like a Sam goodies. If anyone knows who that is in the States, I don't think it doesn't exist anymore. That's a relic of the nineties. Now, um, it's basically, you know, where you get, uh,

17:55videos, DVDs, CDs, entertainment. Yeah. It was, it's an old HMV and, but in America and, uh, they had a collectible of, I can really remember this agent doing the intimidation dance. And it was, and it was of course like the agent doing the ID. Like I said, it was just two legs and it was just like a bunch of agents kind of like sliming together. And I thought it was, and I thought that was the movie was body horror. And I was scared and I didn't want to watch it cause I knew it. Yeah. Something like that. Sure. There you go. Awesome. So, uh, then after the intimidation dance, he pulls out a gun of his own, old,

18:35old, uh, desert Eagle. Right. Uh, am I right there? Yes. And then fires at Neo. And I love, and I love Neo's response because it, it, it, it echoes what we were talking about for the last couple of, uh, episodes, even when, uh, uh, Beth was here is like that, uh, she's really babysitting Neo here. And it's, and he admits it in this photo with his line, Trinity help. And I love it. Yeah. It's yeah. You know what? He doesn't know what to do anymore. He's out of ideas. It's great. And then, you know, it gives a, he, he does figure out a way, obviously the Trinity doesn't save him in this moment, but I like that. He, you know, looks, looks for help, you know? Yep. And it's also a little bit of vulnerability.

19:15It's also a bit of just, you know, what else can you do? You know? And it's a nice, you know, like quippy line that isn't too cheesy. Yeah. Um, and it's not like, it's not like, Oh, check, please. Trinity. It's not a joke either. It's just, yeah, it's, it's, it's natural. And it's being said, um, the situation is funny, but I just, I just wanted to mention two things, uh, before we move on, uh, behind the scenes, uh, you can see that Wachowski's talking to each other about how they're going to block this, uh, sequence. And, um, uh, Lily's decision was, well, what if we zoom in, like, and it goes like Trinity and zoom help like that. I would love that. Yeah. Yeah. Like classic,

19:56like, you know, she's showing cool. Trinity. Help. And my second thing was, what's the fart gas doing? It just shows up. Oh my goodness. Well, it shows up. Once he starts shooting, it starts, it shows up. Yeah. Then maybe that's Trinity helping. Maybe that's her way of making a campfire. What is she doing? Yeah. Yeah. She's trying to confuse the agent with smoke. You know, we have to get help. Yeah. Call for the aid of Gondor. But, and then, but then, but then it even looks funnier because when the fake smoke comes in and later on, when we get the 360 shot and it's like,

20:36it looks a bit weird, but I never noticed that there's actual real smoke before that as well. I wonder if that was intentional or they had real smoke there and they're like, Oh shit, we have to put in smoke, fake smoke afterwards. So, so the continuity, I don't know. I don't know. I think, I believe this is the, cause the smoke comes out of nowhere. What's the point of it? You know? Um, I mean, it is, I think the, like from the, the air conditioning, the heating is whatever. But why in this instance, right before he starts to do the, the bullet-time, maybe it's like an interval thing. Like maybe it, it releases the smoke steam on interval. It's maybe the kitchen down there and every 30 seconds, it kind of like builds up and then like a thing opens.

21:17But no, also could be, maybe we don't want it giving the filmmakers enough credit. What if it's simply a change of scenery to make the scene more dynamic? Oh, maybe. Well, I think Philip, you have mentioned that once he does the 360 shot, you can see the surroundings and there's not many dead bodies. So maybe Trinity started packing away the, you know, she saw agents, uh, one of the, the people turned into agents. So she's like, I get a better get rid of this. So she opened one of the hatches, start chucking the soldiers in there. And then she doesn't have to open any hatches. You just have to toss them off them. Just down. That is true. It's like, it's like, um, um, what's that game? Oh, yeah. Gang beasts. Gang beasts. Yeah, exactly. Just chuck them off the building.

21:58So, uh, when they were filming this, they weren't sure if bullet-time would even work. So they made, they filmed, preliminary fake bullet-time shots. Oh, can we see these? Um, there's a little bit of it in the footage, but it's just, it's not even like three 60. It's actually more of just Keanu doing that, you know, limbo thing with strings. They're going to use for reference, but they also, if it didn't work, they could probably like rely on that somehow and use it. Oh, on location. I think it was, um, Neo doing the limbo filmed on a regular camera.

22:39Yeah. Yeah. Okay. So sort of like bullet-time, not as good. Yeah. Yeah. And then, and that's kind of what it is. And they had a lot of tests with developing bullet-time. And, uh, uh, John Gaeta wasn't really initially sure how to do it, but he took the challenge on to make this a reality because it was going to be a new thing. According to Phil Osterhaus, uh, Phil, our good friend, he said, uh, yeah, he said that John Gaeta had to invent technology to make, um, what Steve Scroche, we know him, uh, what, what he story baited, what he storyboarded possible. So, uh,

23:19the, uh, Wachowskis wanted, uh, the action to occur in slow motion while the camera appeared to move at normal speed. So up to this point, such an effect wasn't possible to achieve. So the scene was shot on, um, on the actual rooftop and then once on a green screen stage and then, uh, with the bullet-time rig and then the plates were shot on the rooftop without any actors. Can you repeat that again? So once it was shot on the rooftop without the bullet-time rig, obviously, right? That was the one you're talking about. The backup. Yeah. Yeah. Shot the regular film camera. Yep. And then the second was shot in, with the, with a green screen. Yeah. That's the one. That's the one that we see. Yeah. Yeah. And then what's the third? The background.

24:00Oh, for the 360 rooftop. Yeah. But it wasn't like they made a CG. Yeah. It's a CG one, right? Obviously. Agent Jones is CG firing the bullet as well. Yeah. But they took, I'm sure he's, if he's not CG. Yeah. He's CG. Look at him. He's just a, he's, he's very static. He's just holding up his gun and standing there. That's it. He's not doing anything. I mean, I guess it makes sense because it's slow motion, but it looks very stiff. And, um, for anyone who doesn't know how, what, how bullet-time works, um, basically this is what our cousin Stan told us ages ago. He's like, they put them on a green screen and they had like 200 still cameras put together,

24:41you know, circling around Neo. Were they digital or? No, no, film cameras. Okay. Um, no, not, SLR cameras. SLR cameras. So, so photo cameras. And each, um, each photo camera. So the cameras, there are hundreds of cameras encircling Neo or the actor in a certain pattern. Tim, are you there? Yes, I'm listening. I'm listening to them. And, uh, they were all, um, photo cameras or SLR cameras. SLR cameras just put in a circle. they were, um, hooked up to, um, like, I guess, I guess they're hooked up to like a machine. there's a rig that, would, um, that was, um,

25:22on the, um, camera button, I guess, unless they internally did some stuff. I don't know. You don't have to like a lot of, uh, old school cameras have this, uh, this little hole for pressure. Use it for, if you want to take, uh, like, let's say long exposure photography, so you don't shake the camera as you press the button. So when you get this cable. Maybe they use that. That is installed. You put it in your, usually your shutter button, and then you have this long cable, and you have like this stick where you press on it. I even have like with my dad's old camera, you have that. So they could have just used that. Yeah. Cause that seems much easier than having to worry about the timing being off with the button. Exactly. Cause you have to be like milliseconds, you know, precise. So I think what they did is they had this rig and they timed it.

26:03Yeah. So like there were two camera, two film cameras, one for the beginning of the shot to the end of the shot. And, uh, there were like about 210 still SLR cameras. Is that right? Around that number? It's around there. 250, 210, 200 something. Still cameras. Now, uh, yeah, just, uh, all around this green screen set. And the cameras were put on a, on a amphitheatrical kind of, uh, circular green screen, faux wall, you know, just like a wall with the holes in there. So the lenses can go through and, uh, Keanu would be there and whoever else is doing the, the bullet-time stuff in the middle with strings and everything.

26:45He does the same performance to match, uh, the live action stuff that they filmed on location. And so the beginning of the shot here, when you see it on, you know, with Keanu, uh, the film camera starts rolling first. And then as it slows down, right. Yeah, that's right. I never noticed the transition. Oh yeah. The smooth transition. Yeah. So the beginning is a smooth, regular camera shot. Yeah. And then it's suddenly kicks into bullet-time when it starts moving. And then it slows down. And each frame of the bullet-time is one of the cameras taking a photo. And it was being done millimeters apart. Not millimeters, milliseconds. Milliseconds apart. Milliseconds apart to make that whole move possible.

27:25To, um, illustrate it in audio terms. Yeah. But really fast. I think it's like, yeah. And all those things fired off like that. So like, that's ingenious though. Like that. It is. It's like amazing. And it gives the effect of the camera moving fast in a world of slow motion. Yeah. And that's, and that's how they wanted the shot. And finally, since we're doing a comprehensive explanation, then we have to also explain that the original photography was finished. And if you pasted it all together in the editing software, it would look kind of like claymation. Yeah. It'd be choppy. Because it was missing the in-between frames between the cameras.

28:06Mm-hmm. Yeah. So then they would do, like you said, twinning, sort of a morphing. Yeah. Morphing technique. And it looks amazing because you can't tell. Yeah. Yeah. There's not enough frames. I think this is a technique that they use later on, not for this movie, but for like commercials and everything, they do it. Now they have really high speed robots that have like arms that are super quick and they can turn. Oh, so that means that the Uwe Boll House of the Dead camera maneuver is getting a comeback. Yeah. Yeah. So, so like for commercial shoots, like, you know, like, like you have a commercial of like some shampoo and you have oranges flying through slow motion through water and everything. Usually it's like a really high speed robot arm. They're like swings around. So the really quick that the Uwe Boll.

28:47Yeah. I just want to mention. Yeah. Yeah. Because this is interesting. Uh, Uwe Boll, for those who don't know, is a German director. Retired. Is he? Yeah. He's done. He's done. He's so mad. Did you? I had enough. No more. Yeah. You should, you should see the video. I hate you guys. I did the vote and you did the vote for me. Not, not vote, but Kickstarters. He'd like the three of them and no. Oh yeah. Yeah. No, no, no. So he's done now. No more. Okay. Yeah. He's, he's, he's just angry golfing. Uh, he made a film a long time ago called, uh, house of the dead. Yep. Mm hmm. And, um, but there were a lot of shots. I just wanted to say, his main motivation was exploiting cheap video game licenses. So he could make, uh,

29:28lots of really, yeah, lots of money to make really bad movies based on their license. And they, and turn out to be really bad movies. Yes. They're like one of the, you know, if you, he's sort of become synonymous with like bad movie, Uwe Bollman. Um, so he, he, I guess they created his rig for that house of the dead film that was replicating the matrix is a bullet-time effect. Okay. And I think if I'm not mistaken, correct me. Isn't it just like, um, what do you call those? Those little railroad tracks, but they're not for railroads, just tracks. Dolly or whatever. Yeah. Like a circular track. Yes. Yeah. Yeah. You stand called when you have a film, when you have a camera on a track, what's that called? Dolly. Dolly. So a circular Dolly.

30:08Yeah. Around the actor. Yes. Going at supersonic speeds. And the actor's standing on top of, uh, he's standing on. In the middle. He or she is standing on, yeah, like just a big circle. No, he's not standing on a circle. He's standing in the circle. I think there's a platform on the circle. Okay. The circle platform rotates the, this arm with a 35 mil camera on it. So going really fast. At very, very fast speeds. And that's how they did their bullet-time. And it was very lethal. Yeah. If you, if you fall into the camera, it'll like smack you in the head and kill you. Yes. It'll kill you. We should look up the shots again. See if it's any good or not. I'll check, I'll check them out after. But there's, but like the funny thing is that that thing is constricting and it only has one movement.

30:51Yeah. The circle. with the bullet-time that John Gaeta invented, you can, like he was explaining in the behind the scenes, he could do any, any move, any position, any, um, dude, you could do like vertical stuff too. Yeah. And also, yeah. And also any, um, speed. If you just put more cameras together. Oh yeah. And that's what I want to say that, uh, uh, and time commercials and everything they used is a lot for the, the, it basically, the camera, uh, shutter doesn't go off in a sequence. It goes off at the same time. So what you have is a 360 of a still frame. That's right. So let's say somebody jumps. So then you can move the camera around, like going through the actual frames back and forth,

31:31back and forth. But the actual motion is not there. Like in here, you like a slow motion. It's like, it's a still. So that's interesting. Yeah. You can do that as well. I didn't think about that. Yeah. You can do that. Yeah. That's really cool. And that's bullet-time. What else can you say? Yeah. Well, if I had to add some, it won an Academy of what? Before we have to, before I mentioned that, so we have to mention really quick that that's bullet-time. They shot on a green screen. The background is replaced by a digital background. And you can tell it's 1999 digital background. It's very clean. There's not much dirt going on. It's very, very clean. And obviously the bullets, this is something interesting because I think it's the first time we see these bullets. Indeed. Especially this kind of effect. Yes. Yes. The bullet has this sort of, I guess I'd call it like a signature, I guess,

32:11what would you guys call it? Like a trail wave. Ripple. Ripple. That's perfect. Ripple. There you go. Ripple effect. Ripple trail. Yeah. And it's cool. It's a cool, you know, like effect. Cause it's sort of that, it's almost like a watery look, you know? It is actually realistic. If you, well, not at this slow motion, I think you would have to slow mo it up a lot more to see these tiny little shock waves. But what happens is, you know, it is, they're going at sonic speed and you have basically a little sonic little booms just going, you know, whizzing through the air and just like the air gets shocked. So, so it is, it is, it is, um, possible to have that, but you have to like super slow mo. I like, okay. Like low light just to see, you know, the actual ripples in time,

32:52in space and time. So that is bullet-time. Then. We covered it. There were no, there's no guards, no Trinity, no nothing. What do you guys think about, okay, what do you guys think? I always wondered about this. So we have this, you know, very dramatic bullet-time shot. And then, don't you guys think it cuts to a little bit of an anticlimax of the shots of Neo getting his leg and stuff cut with the bullets? Like a little, I guess it's like a little close up just to show like, oh, he's still, it feels a little slow because I, you know, the impact comes with the bullet at the end of the shot. It's like right on our face. Then we cut and it takes like a second for the bullet to rip Neo's pant. Pantaloons. Yes. I just felt like it was a little slow. I don't know. Yeah,

33:32I guess, but it's also, I think, you know, they had this one shot and I think it's the big shot. It's not like, oh, let's do a couple of possibilities and everything. So you kind of have to cut and, you know, work around this one big shot. So I don't think they had a lot of freedom to go, you know, to get it. Maybe they, you know, they would maybe have the rips if they could like later on, like, it would be cool if we had the actual rips in the slow motion, but, you know, you kind of like messed up. Like, okay, let's just, let's just, you know, figure this out and let's not worry about the rips and we just, you know, we'll let them afterwards. The B unit will film those, you know, B unit. But, um, so then he falls on the floor, he's cut and, uh, you got a shot. Trinity does help him.

34:12Well, yeah, yeah. You have a nice shot of the shadow of the Aiden Smith. it's cool. It's cool. With the lens flare. And then he blocks the sun with his gun. That's actually what we, we did that same shot in Midnight Plague, I think. Yeah. Just block the sun. That's always good. You kind of mess with the exposure. No, just block any light. We just block the light. Oh, okay. Just to have a little silhouette of a man. Yes. So do I have a man? And then, um, what did you say? Only human or something like that? Only human. But what, what do you think he was about to say? He was going to go into a monologue. You know, our offices got wet. I had to change my clothes. How about this guy? How about this guy? Right before he shoots him,

34:52Agent Smith takes him over and says, let me share with you a little, uh, uh, Agent Smith morphs into him and says, let me share with you a revelation I've had during my time here. The dinosaurs. Only dinosaurs. Dinosaurs. But, um, and then evolution, like the dinosaur. No, but what it was, only human can think they can dodge like machines. What, what, what, what is the sentence? Oh no, I thought that was, that was the sentence. Just only human. Oh, okay. Cause I thought he was interrupted by Trinity. I thought he was going to, okay. All right. That's, that's a, that's a new to me. So then we have the, after all, only human, Oh,

35:32just sing a song. We are only human, but then, then we have the best shot ever. My favorite shot. Well, well, well, first there's the, first there's a shot of, of, of the gun coming in into frame and then pointing it at, uh, at, into his head. Temple. Yeah. And then he turns around with a little frown and then. The shot. My desktop for about three years, my desktop wallpaper. Really? Yeah. The wide shot of Trinity shooting. Yeah. Agent, whatever it is. It wasn't my desktop wallpaper. It was my startup screen. I had that as a startup screen. And then I had the, like the little, windows, uh, loader like in,

36:13in there. That was, that was my, that was my startup screen. Yeah. And she just stands there really wide shot, really wide, you know, shallow lens camera, whatever. And she's just dodged this. And you can actually see her, uh, hand shaking a little bit. I think, I think, you know, we think, oh, this is a fun thing. And it's my favorite scene because shows how bad as Trinity is. But if you, if you look at it a little bit deeper, this is the first time any of them has ever killed an agent. Ah, yes, yes. You're right. This is the call to action. You know, it, it, sure. He got confused, but well, there's two things that I would like to point out.

36:55One is that there's just two things that it's pointing out. Like, sorry, I repeat myself, but one is that she could have been so inspired by Neo doing the wiggly bits. But, you know, she, she had the, she had, she had the courage and the motivation to go up and do that. That's one thing. And second is that she must be really in love with Neo to go and risk something that, you know, we see her in the first, the first scene of this movie scared. Oh yeah. It's running away. Like a madman, just because there's an agent there. Now she just clearly walks up to him and just shoots him in the head.

37:36Wow. Yeah. So that, that's, that's great progression, you know, he, for, for Trinity as a character. Yeah. That is so true. Hmm. And in the storyboards, uh, Steve Scroess asks, um, how big is the gun in the closeup? Cause there has to be this, you know, big closeup of Trinity. And then, and one of the Wachowskis was like, as big as her whole body. No, they're not far off. Yeah. What is it? Like a 16 millimeter or something used on this? Eight. I don't know. Very, very wide. Big fish eye. Yeah. That's awesome. I don't think, yeah, I like it when some, some people don't like it. I think it like, they think it's too, takes you out of the action too much when you use like a crazy lens like that. But I think it worked so well for that moment that everyone's forgiving of the sort of like unusuality,

38:21unusually, I don't know. Unusualness. So when, when she, uh, pops a cab in his cap, cap in his ass, um, I love, but my favorite, like there's all sorts of blood effects and people getting shot. Like you can go old school to whole Hollywood when they just hold, hold their wound and you can't see anything. The classic, you know, the smoke coming out. And then you have like the, the crazy, you know, splatters of, of, of, what are those calls? Little explosions on them or maybe CGI. Squibs, squibs. Squibs. But I love the dust, like puff of blood effect. Yeah. That's my favorite. Like if you look at the frame, when she shoots him in the head,

39:02you have this, like this, this spray. It's not, it's not like a, like goopy blood chunk. It's just like the spray of everything. I love that. It's a mist. It's a bloody mist. The mist of blood, is my favorite like blood effect of somebody getting shot. You can see them in the same private Ryan a lot. And I think that might be the most realistic one because unless you hear like a major artery, you're not going to get that big goop of blood. I never even noticed that it was red. So love the mist. The mist is good. It's a great wide shot. It's slow motion. And if you watch the behind the scenes, the film too, or a book or something. Stephen King book, I think. And if you look at the behind the scenes of that shot, the stunt man really, he hid his head,

39:43like just falling down. It's, it's the way it's supposed to be, but yeah, I love, if you watch the scenes, it's the way it's supposed to be. I don't think, I don't think the stuntman appreciates here. Yeah. But that's what he's supposed to do. That was, that was the plan. So hard. Okay. Hit his head. He didn't get wounded. He's fine. Okay. We're joking with you. Okay. We're joking with you. As Phil's hands shake. Ha ha. Ha ha ha. Ha ha ha. Come on. Descending into madness. So, then, then after that, Trinity's like, here, let me help you. And then, then he takes off his glasses and takes off his coat and that's the end. No more than that. And then Trinity's like, need a hand and then, you know, like,

40:23reaches for him. Don't you forget about the, Thor visiting Earth for a second there. I don't think the bodies are back. Yeah, the bodies are back. The little electric feel. Zzz. Oh yeah, the electric. She, she turns away in the most classic Hollywood cliche in the world. Oh. If you look at that shot, Trinity turning away, you can just see someone moving the reflector. up to her face. That's all it is. Oh my goodness. Oh my goodness. Or a light. Or a light. Well, actually, if you look at the, if you look at the, yeah, if you look at the, her reflection. Her look away, I always thought, I was like, oh, it's poisonous. I thought for a long time, didn't you just think this? I don't want to see the horror. That if you like,

41:04see it, you'll be affected. Yeah, I don't know, something like that. Who knows? Who knows? Nia takes his glasses off. No, you wanted to talk about how bad those. Oh, electricity shocks. Yeah, why electricity when it was code before? What's the, what's the logic here? First, it's not easy logic. It's like me on Photoshop when I was 12 doing a film strip editing. Yeah, the guy with film strip editing is just drawing. Yeah, destroying the, Steven, you've gone too far, Steven. Right? You did destructive editing. What's wrong with you, Steven? Unlimited power. This is our only shot and you destroyed it.

41:44I can't believe I did destructive editing. Did you do a, of course, you know, you have to. Of course. Like, I can't believe it. Like, I did that and I'm like, because you were born to the digital world yet you still destroy. Yeah, and it's funny because like, I did that and I replaced my original footage and I was like, this is better, right? I mean, I put music and stuff, it's better. Never, never, never get to go back again. Did I tell you about the story? And then about a year later, I was like, no. No, no, no, no. When I like, did that, but with family photos that we just took, I think I told the story. No. No, I was just like, we were taking family photos and they were the first digital family photos we did and then a friend of ours

42:24came with a digital camera and took all the photos, everyone, family, outside, it's great. They take the photo, they're like, oh, you know, go copy the files, Tim. So I was like, I don't know, 13, something like that. So I went up to my dad's computer, copied all the files and it brought back, you know, the, whatever, the card or whatever. And I was like, oh, let's go look at the photos. So I take my nieces up there, they're like, you know, a couple of years younger than me and I try to be funny and draw like and paint like horns and angel faces on everyone, but I don't go save S, I just press save, my friend. Luckily, you know, the guy didn't format the card, but we had to call him back to come, you know, give us the files again. But, but there's just a, I didn't know that, you know, the pain when I realized

43:05what happened because I'm, my dad goes, let's go look at the photos and I'm scrolling through and it's like, you know, nice photo, nice photo. The devil horns and everything comes. I had to call the guy to come. No, I mean like, like did, I mean, was there problems? Like was there? Oh yes, yes, yes, yes. I was, I was severely shouted upon. And it was just your save, right? You were just like save. Yeah, just save. Change the photos, save. No save. No copying, nothing. Nothing, just straight up to go to the fire. Just magical. So that's what happened with Steven here. Yeah. That's a guy I made up by the way, Steven. They never had the chance to take away the Thor.

43:46I mean, he said we are under attack. That was pretty good. It helps. So I meant Steven, the editor who's doing the lightning bolts. That's what you mean. Yeah, but where, where, where? So Neo takes his glasses off. And his coat. Yeah, because he's done. He's done. He wants to show off his muscles. I missed something to mention. Well, are we back from not being serious? Yeah, we've screwed it up. I went to my story about, everything's done now. Listen, there's one shot that I didn't mention. When after, listen. He's really off the rails. When Neo says, Trinity, help, right? His collar for his jacket is down.

44:29Yes? Yes? Yes. And then when we cut to bullet-time, it's up. Oh. Yes. Because it's the strings. They go behind. The strings. They pull the strings. And they pull the strings. There you pull the strings. That's exactly what I want to say. That's all I have to say. Pull the strings. Neo takes the coat off. And let's, let's talk about what Trinity says. Trinity says, I don't know why Trinity's so like, still so. Shocked? Stone faced with Neo. Why can't she just be like. I love you. Yeah. Like that. I like the way you move. That sounds hot. Yeah. Yeah. Or that. But she just goes like. What was that Neo? What did you do?

45:09How'd you do that Neo? She should have been like, Neo. That's amazing. Yeah. And instead she goes, you move like they do. How did you do that? How did you do that? Show me how you did. Do it again. Do it again, Neo. And of course, Neo is a man of many questions. Yeah. He doesn't understand things, situations. He's like, do what? You move like they did. I've never seen anyone else move like that. I never, I never did the octopus move. It was just, I just, just, I did the swiggly, wiggly. Mine was not fast enough. I did the squiggly wiggly. I always thought it was like an underplayed line. Not fast enough. What do you mean? Like it's just, it's supposed to be more, more cheesy, like more. No, no, no, no. It should have been maybe more like,

45:49like, I don't even know what I did. What happened? Who are you? That'd be, that'd be worse. That'd be worse. No, like, uh, yes. Yeah. I'll call those people. That's what I can be. Take, get me gauze strips. Is that what they're called? Gauze? Gauze. Yeah. Gauze. Is that the end of the minute? Yeah, because he goes not fast enough. Gazelle. And boom. Boom. Okay, let's, let's, let's finish it up classic style. With this 1996 script. Oh. Okay, well, after that, then we'll finish it up. Yeah, yeah, yeah, yeah. Okay, so, in this script, as you know, the jingle. Oh, the jingle, of course. Oh. Do you think the organ player,

46:30Johnny? Yeah, yeah, yeah. Johnny, Johnny, Johnny. Hey, hey, yeah, yeah, yeah. Can you do the, did you hear the 60s? sorry, not 60s. What the hell am I talking about? The 1996 script jingle. Yeah? Okay, can you, yeah, yeah, okay, okay, he's gonna play. Ooh, Johnny. There we go. Oh, he's so good. He's so good. Wow. Johnny. Awesome. Well, anyway, welcome to the 1996 script. And, uh, as you know, uh, as you know, uh, the, this is a hotel. It's not a government lobby. The agency,

47:11the agents are hiding in, in the government lobby, on the presidential suite. They have, uh, Morpheus stuck there and it's a Japanese style hotel too. So it's got, Oh crap. You're talking about the 96 script. That was not, I was like, what are you talking about? Yeah. Yeah. I think, I think Tim wasn't here when I mentioned this, but there is barely any lobby scene in this draft of the script. Just, just, just kind of shoot. Love you seen. Walk into the elevator. So. Riveting. Boom. Yeah. Riveting. So Neo goes, there is no spoon. Boom. There is no propeller heads. The counterweight plummet, yanking Trinity and Neo up through the shaft as the elevator falls away beneath them.

47:54Distant, distending space, filling it with the sound of whistling metal as they soar to the top. And, um, interior lobby matrix day, the elevator hits the bottom. Ba boom. That's what it says? Yes. And you know, it says that, ba ba boom. And it says the same thing in the 1998 script, shooting script as well. Oh, ba boom. Massive explosion. And then, uh, the agents hear the blast and fire alarms. The agents hear the blast and fire alarms. And the agent goes, agent, agent Jones goes lower level. And then agent Brown says, they're actually attacking. Wow. Huh. And then elevator shaft matrix day hanging by a rope.

48:35Trinity hot wires the panel for the door. Oh no. Oh, we see what happens. Wait, wait, wait, hanging by a rope. Yeah. What does that mean? She's got like tied to her pants. Oh, giving her massive wedgie. Are we still in the shaft? Yes. Yes. Nervous, the interior top floor matrix. Nervous, the Marines watch as the elevator dings softly and slides open. Black smoke rises out of the exposed shaft. It's Rob Zombie entrance. Ah, did I am the one? The nearest mission, their nearest Marine eases to the edge, peering down at the churning blaze, engulfing their lower levels. He does not see Trinity and Neo above him until it's too late. Crack. Neo kicks,

49:15knocking the Marine flying down into the shaft before the others can react. Trinity flips out. Flips him off. Trinity flips out into the hall, decking the nearest Marine. Neo cracks another. The fight is over before it begins. Yeah. Like a double bird. Yeah. Yeah. And then, uh, an enormous explosion thunders above them, above, uh, agents and, uh, shaking the building. The alarm sounds and, uh, emergency sprinklers begin showering the room. Agent Smith smashes the table. Fire them and destroy them. Wow. That's like proper movie villain. Yes. Agent Jones nods and touches his earpiece.

49:56Touch the shaft. What happened? Nothing. That's it? No, no, no, no. And then exterior roof. The roof access tower is now engulfed in flames as Neo and Trinity lay waste to a dozen more Marines. Guns and knives, like the extensions of their bodies, used with the same deadly precision as the feet and their fists. Uh, across the roof, the pilot inside the army helicopter watches the ferocious onslaught. And he goes, I repeat, we are under attack, right? Suddenly his face, his whole body dissolves, consumed by spreading the locust like swarm of static as Agent Jones emerges. Just as he drops the last Marine, uh, Trinity sees what's coming. Uh, uh, and then Neo sees her, the fear in her face. And he knows what it's behind him screaming.

50:38He whirls guns, filling his hands with thought speed. What does that mean? I don't know. Guns filling his hands with thought speed. Like though, he's so, he's so quick at drawing his weapons as he was thinking, doing it, you know? Oh, I think. Finger, fingers pumping, shells ejecting, dancing up in a way. We look through the sights and gun smoke at the agent blurred with motion until the hammers click against empty metal. It's nicely written. Treaty. Agent Jones charges. Help. His gun booms as we enter the liquid, liquid space of bullet-time. The air sizzles with wads of lead like,

51:21wads, wads, wads of lead like angry flies. As Neo twists, bends, ducks just between them. Agent Jones still running, narrows the gap with the bullets coming faster until Neo bent impossibly back. One hand on the ground as a spiraling gray ball shears open his shoulder. He starts to scream. As another digs a red groove across his thigh. He has only one time to look up to see the barrel when Agent Jones standing over him pulls the trigger. The final time. Empty. Neo rolls, reaching for another gun when a roundhouse kick snaps his jaw.

52:05Agent Jones grabs the gun and levels it at Neo. And of course he goes, only human. Suddenly Agent Jones stops. Something is wrong. He scans the roof. Trinity is gone. Immediately he whirls around and turns straight into the muzzle of her .45, jammed right into his head. And then Trinity says, dodge this motherfucker. Yes. Oh man, Trinity. Trinity, potty mouth. Poopoo mouth. The body flies back with a flash of mercurial light. And when it hits the ground, it is the pilot. And then Neo goes, thanks, you're hit, I'm fine. Can you fly that thing? Not yet. That's in the next one. Trinity goes full on badass in this one. I don't know. I like it the way it is in the final one.

52:45No, no, no, that's too much. She's not gangster. I think motherfucker, it's more like really gangster, like a street thug. I guess, but I mean, I mean, it could work though. Or you're like Joe Pesci, and it works. But the thing is though, I think that here, I think it could work in the sense that she's, you know, there's a lot of, now you're imagining, I'm imagining Joe Pesci as Trinity. Joe Pesci as Trinity. Because she's angry. How did you do that, Neo? Because she's angry in this one. But she's angry in this one, so she's a little more, you know, like intense, right? Her more human reaction comes out. In this, in the movie, she's very like stoic. Cool.

53:26Yeah, yeah. Cool. Definitely cool. It's not, it's not anger. It's like, but then again, I guess this other version makes sense because like, in the old version, because like, they had weird stuff, like Neo wearing jeans and having long hair. Yeah. Yeah. It was more gangster. The Matrix used to be, amazing. You move, you move like they did. Never seen an engine move so fast. It's like a dream. That'd be beautiful. Can you imagine with the same costume? Yeah. That's who? That's Trinity. That's Trinity. And the same hair. I try not to.

54:06It's glorious. I can't imagine it. With the hair. I can imagine the sunglasses. Oh man. That's true. Okay. Well, with that said. Okay, Tim, what'd you want to say? Classic fashion or something? What? You said, let's end this in classic fashion. Classic fashion? Tim, come on, where were you? You were there. I don't know. You said you wanted to end it in classic fashion. Oh, yeah, yeah, sorry. I was like, phew, I was way out of there. Yeah, yeah, let's continue how we started. We kind of got carried away in our old ways, but, no, screw it. Let's just end it now. more than