Minute 108: “He’s not gonna’ make it!”

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 back to the Matrix Minute. I am Phil and with me is... Tim. Tim! Hi, Tim. Hi! How are you? I'm good. Feeling good today? I feel good today. That's fantastic. There's something we must tell you. Usually there would be another voice speaking with us, but he is not here for due to personal reasons, but he'll be back sometime. We hope. He will be back. I don't know what happened to me. Why am I shiting mode? All right, never mind. I have no idea either, but hey, you know, I think this is going to be interesting because it was once me and Jake, but we didn't have a guest. Actually, you know what? I could have asked for a guest. It was way too short notice.

0:44Yeah. So how are you, Tim? How's it going? I'm good. I'm good. Yeah, yeah. We missed the Jake. We missed the Jake, but we will plow on. Sorry. A little bit of digestion problems. We will plow on before him without him. Sorry, all the listeners who are listening to this right now. I know you came here for Jake, but all you get is the fat of the show. The fat man. And we have a really, really, you know, really. Actually, you know what I'm doing? I'm doing Lord of the Rings Minute tomorrow. Oh, really? What? What you doing? What you doing? What's the minute? Well, it's two towers and I wanted the one where Gandalf is like, long I fell and he fell with me, you know.

1:28From the lowest dungeon to the highest peak. Like the flashbacks? Yeah. I fall, too. I think Paul. The Balrog of Morgoth. Until at last I cast down my enemy and smote his ruin upon the mountainside. Lovely jubilee. That's not, that's not, that's the movie quote, which I understand, which I memorize more, but in the book it's different. His ruin caused an avalanche. Did you know that? It's crazy. Really? I did not know that. I forgot. I read those long time ago. They had a, they had a good opportunity for the, for a giant avalanche to happen. Okay. Anyway, that's an easy minute because you have a book. You can always feel like, ah, but in the book. Ah, yes, yes. Exactly what we do with the 90-96 script.

2:09Yeah. Look what we're doing here. I'm struggling trying to find trivia. I mean, here's the thing, Tim, here's the nature of this podcast. Like when, I think most of the audience that's listening to this know that when we reach a certain point, which is, this is the last third of the whole thing. And you would agree, and you told me this before, that it's, you know, that I've dug through just trying to find tidbits and trivia of behind the scenes moments. And it's getting harder to do that because we started, we stressed, we actually just covered most of like the environment that the characters are in. And then we covered most of the situations, not necessarily specifically, but just the nature of the situation that they're in.

2:51Like they're being chased by agents and we talk about the agents all the time. Yeah. There's no new elements that are going to be, you know, sort of added. And we also depleted the wells of trivia about this movie that we found anywhere on the web, you know, maybe in the dark secrets of some people who worked on the movie they could reveal. But other than that, what's public, it is gone. Yeah. One thing left, just ask Phil Osterhaus to join someday. Do you have his details? Not yet, not yet, but I'm just so lazy. Every day I just think of it. Yeah. I can just email my friend who worked with Phil Osterhaus once and ask. Yeah. Just do that. But I'm so lazy every single day. The minutes are running out. We must have Phil.

3:34Yes. We must have Phil to talk to us about. And then we just have Phil and Phil. Phil on Phil podcast. Yeah. Oh yeah. Yeah, that's right. Phil asks Phil. Yeah. Well, we have some interesting stuff here, hopefully. I mean, if you want to get into that minute, I can just explain it to you now. Oh, when I wait. Is that what happened? Morpheus 108. Bring it. The machine gun punctures through the agent's office with fury and the opponents fall over. Morpheus is unscathed, sitting in the chair. Get up, Morpheus. Get up. The agents regenerate and are coming back. Morpheus struggles but regains consciousness. He bellows and proceeds to break his chains.

4:16I just wanted to put in bellows. He does bellow. And the music. We'll get into that, hopefully. Papa, papa, papa, papa, papa. Papa John's, Papa John's, Papa Pepo. Okay. Papa Pepo. So, with the first shot, we have old Painless back, the minigun. Neo is concentrating and he's just looking at intensity and just firing. And this whole shooting sequence has no music. Yeah. That's an interesting thing to point out. That's a lovely shot. A little good focus. Well, not yet. Not yet. But the funny thing is, the second shot where you see his foot on the rail and then the shells falling out.

5:03I was always confused because, you know, watching this on VHS, you don't see really detail. And among the shells, there's some gubbins, some bits. I never knew what that was. I thought it was some kind of dirt. Some bits and juicy bits. I always thought it was some dirt or something like that that's falling out of the gun. Really? Yeah, yeah. You thought it was just some kind of weird just... Just junk. Just like weirdness. It's like the gun is falling apart or like out of the bullets comes out. But it's just like the... The firing is so intense. It's the little clips that hold each of the bullets together. The bullets. And they get separated and flown out. So that's interesting. But those shots are so good. It's like looking at the way he's shooting and then you get these two very memorable shots.

5:51I think people can remember. Like if they think this sequence, they remember the bullets falling down with wonderful, you know, shuddery precision. Cling, cling, cling, cling, cling. Yes, with the water on the... It's coming from the video. Oh, yeah, yeah. So that's... And then the second shot would be the shot from the bottom looking up at the helicopter. Oh, yeah. Sorry. That's what I meant. That's what I meant. Yeah, yeah. From the bottom looking at the helicopter. And then you have the shells just like falling on the sort of camera. That's like, that's some... Those are innovative shots that I don't think ever existed prior to this. Yeah. In this... For this type of film in the 90s.

6:32I mean, like since then. Like this is the first time stuff like this was incorporated. And for me, I think this is a huge testament to bringing in storyboarders that are... And how they directed this because of their comic book background. The way they saw these things were... You know how in comics there isn't any focus. It's all sharp. Yes. So... And it looks really terrible when they try to incorporate that. Like... Oh, yeah. Like sometimes an artist will do it not by blur, but maybe, you know, have the stuff in the background. Have it less saturated or maybe, you know, like the details is not there.

7:13But sometimes I would see like, especially when digital art became popular and the comics, you know, were drawn digitally. And you can just take a layer and blur it up, you know, in Photoshop. It just always looks so wonky in like comic books. Yeah. It kind of like destroys the... I guess the art style in a way. To me at least. I haven't seen a good one like that. Have you, Philip? Seen a good comic book adaptation sort of thing? No, I mean like, have you seen maybe that use of blurring in a comic book art style? No, I honestly, I haven't read a lot of comics, guys. I just, I just know the sensibilities from the early 90s.

7:55From the basically 90s comics, the ones that were still done non-digitally. Like, like, like Superman. Like X-Men. Superhero. Oh, okay. Yeah. Like superhero stuff, right? Okay. No, no. Okay. To be fair, I read, quote unquote, I read Watchmen. So that's a 1985, 86 comic. And that's unique in its own way. But those are, those are the kinds of, whenever someone says comic book, I think of the, you know, the very basic colors, not much shading, inks, color, you know, and, and, or, or like, you know, Jeff Darrow, one of the concept artists here, he got his huge, huge inspiration. He actually worked with him too, of the, you know, the graphic novel, like comic book

8:39artist, not only comic, but just illustrator. His name is Mubius. Oh yes. Yes. Mubius. Yeah. And that's a huge influence on, on Jeff Darrow, who put that, his own stylistic approach to the Matrix films. And that's why we get such a, that's such a looking movie whenever it's applicable. You know, when they, when they got the shots the way they wanted it. And it's lovely because this shot of the helicopter from the beneath, I mean, there's nothing augmented about it. It's not, it's not, you know, something that like somebody dreamt up and on a, on a picture, like a comic book frame, and then sort of, you have to adjust reality to show it that way. It's just, I don't think anyone would think of, you know, showing that unless you went from an art, you know, like a, you know, it was like a picture because, you know, nothing's

9:23changed. You're just looking down at the building and a helicopter, but it's such a unique perspective. It's awesome. It's a building. Yeah. Yeah. Um, so, uh, moving on with this wonderful, wonderful sequence that, you know what, it's funny, like last minute, we didn't really talk about it too much. I mean, we did, we did have Alex Robinson, who's fantastic. Hey, by the way, did you know, Alex just sent me the, uh, his audio files today. Oh, really? Yeah. A day, a day after, uh, we have it on two days after we had it on here. Okay. Interesting. Interesting. Uh, and so anyway, um, we didn't really talk about the scene specifically. So, um, what's wonderful about this is, um, the, the shot where Agent Smith gets, gets

10:08shot. Like there's this one, uh, frame where Agent Smith's all, all the way on the right of the picture. And he's like kind of crouching, kneeling, crouching, and he's shooting with his grimace. And then you have these, these bullet shots just coming closer to him. Yeah. Yeah. That's, it's pretty scary. That's one of my favorite shots. You think that's a composite or that's an actual stunt because there's a lot of shit flying around and that looks dangerous. Yeah. Yeah. Well, I don't know. Like I'm going to have to just check that out. And there's a potentially fake looking muzzle flash, right? When you look at him, uh, well, I don't know. How many do you think of these muzzle flares are actually real and how many are digital?

10:49I don't know. I don't think anyone would be able to know now because it's been so long. Everybody who worked on it is like, Oh, that's true. That's true. That's how it feels like to me. I think that might've been a real shot. And I think they just moved because I think, you know, the way they made these, um, bullet effects happen, we're putting, um, air guns, um, under the floor with, you know, there's holes and then the air guns would just shoot some air and that's how they get that effect. So, I mean, it's sort of dangerous, but it's not, you know, it's not, I guess like some debris or something, but let's just watch a splashing on him. He'll be fine. Yeah. So I think that's how they did that. Uh, they're all, this is all filmed in slow motion.

11:32Um, Neo finally finishes the minigun, uh, thing and the minigun is, cause you know, we like, we like talking about the details here. It's a G E M 134 minigun. Wonderful. Means nothing to me. Mounted on a bell to 12 helicopter. That's right. It's a two 12. We know that B two 12. Um, and there you go. That's, that's about the, that's some useless trivia for you right there. Yep. Yep. We checked that box. The crew had to wear knee high boots when they were working on this. Cause there's so much water. I just a little galoshes.

12:13Yep. That's it. Not, no, no galoshes. Hey, have you been to like offices or in my case, I went to a film set where you had to, they gave you like these weird cushions for your shoes. Little, little blue slippers. Yes. Yes. Like in a museum. Clean. I mean, a doctor, office, museum. Yeah. I've got a few, few, um, places where you have to, where you have to put those. I think in like, they have them in airport as well. You can put them on your window. When they make you take off your shoes, you can put that on your. Oh, that's nice. Never had that happen to me. No. Last I saw that was, um. Well, you never wear boots. They make you take off your shoes if you have boots. Specifically for boots. If you have sneakers, you're fine. Because boots have like. Not in America, son.

12:55Which is what? Now everything goes off? Everything goes off, Tim. Go to America. I mean, finger in the butt. Yep. You'll see it. You'll, you'll experience. You'll have the American experience when you. Yeah. Eventually visit. Emma got, Emma got tapped for, uh, when we were returning from Berlin the other weekend, Emma got tapped for the, like, they took like little scrapes from her, uh, suitcase for drugs. I don't know why. Just to the side. And they went like, put it in a little computer and the computer went. I know. I was, I was randomly selected once to go through that x-ray scanner. You know, that, the body scanning thing. Oh, they, in Germany, they have that odd just normally. Everything's a body. They do. You go and you put your arms up and it goes like, go around super fast, right?

13:38It's gross. Yeah. In Germany, they just scan everyone like that. This is the, it's the matrix, man. It's the matrix. It is. As I sloppily try to go back to the matrix here. It's okay. The lighting is great. Most of this is, this is all an indoor, uh, shot thing. And there's that one shot in slow motion where Agent Smith is falling. That's what I wanted to talk about. You see Agent Smith falling in, in slow motion with lots of rain. Is it Agent Smith? Is it a stunt double or is it a dummy? So, so. That is my question. That is a dummy. Yeah. Okay. Because I want to believe it's a dummy. Because it. As soon as you said it's a dummy. Okay. So, so the couch gets blown up and it's a, and it comes to him.

14:21That is totally a dummy because of his, his foot, his right foot. Yes. Just flips the shit out into existence. Look at that. Look at that flip. That's a wobbly, bobbly, uh, thing. It's a good dummy though. I have to say. Yeah. No. Um, I never heard of, I'm just, we're just, I'm just guessing. Honestly. We are guessing because also, also when he impacts with his like, uh, with his butt, his head goes inside his torso for a second there. It does. It has to be a dummy. That is. Unless Hugo Weaving has some crazy, you know, plastic man powers. It's definitely not Hugo Weaving. It's either, yeah, what you said, it's either a stuntman or, I mean, it could be a

15:02stuntman because in slow motion, you can see a lot of craziness happen to him. But like, if you've ever seen like somebody get slapped or hit with a ball. Yeah. Well, I guess, uh, just, just, just incidentally, that's in the behind the scenes for the Matrix, uh, revolutions. You can actually see Hugo Weaving getting blasted by a, uh, air gun. Oh really? And you can see his, you can see his skin flex in slow motions. Yeah. So skin, skin and everything gets blown. But this, this seems a little bit, a little bit crazy for just like a human being. So, so good on that. Yeah, I'm looking at it now. Looking at it now. That's so great. And they masked it with all that water too. Yes. It has, it can't be, I don't know what it is, but who knows. So it's dummy's mess. Anyway, bullets are shot and there's your favorite electricity effect.

15:42Tim, your favorite? Yeah. Well, shouldn't they all be shocked by the electricity, you know, being, going through the water? Ha ha ha ha ha ha ha ha ha. It's funny. Funny. And then comes another fantastic shot, right after the wide shot of seeing Morpheus. That's a great shot, by the way, the wide shot with Morpheus in the middle. Yes. But then, that's a composite, right? No. Why would it, like, I think they just filmed it straight on. So they had a set like where this whole glass, I guess, yeah, it looks pretty cool. It looks science fiction-y. Back in the, you see, back in the day, yeah, well, back in the day, you know, you would have to do it practically because that's the most practical thing to do. Yeah. Now it's a little bit more practical sometimes to just, you know, CG it because that's, you know, that's kind of what they do.

16:23But, you know, I mean, this argument is as old as time. Yeah. I mean, I'm not going to talk about it. I know, I know, I know that there's a few iconic shots in this minute. You have the, you know, from what we talked about that scene, you know, below from the helicopter, you have Morpheus breaking the chains, you have Morpheus bellying. But I would like to make a request if the picture for this minute is the morphing agent. Hey, Tim, did you check our Dropbox? Did you check our Dropbox? No, no. It's on Dropbox. Oh, okay. Okay. Well, if you checked our Matrix Dropbox, go to the image folder. Okay. I got you covered. Oh, okay.

17:04Because I just wanted to send you something magical. Where do I send this to? Does this guy work? Yeah. Anyway, anything works. I'm connected, man. I'm fully connected. I've like three different outlets for you to send me something if I don't hold one in my own hands. I'll have at least something there. Oh, man. What is this? You keep talking while I do this. You keep talking, buddy. I'm talking. Guys, I just want you to know that one shot when Neo finishes shooting and then you have that rack focus. Yeah, Tim, that's right. Is that it? I have that same shot. You should just... Okay, let me see.

17:44Oh, man. So this is an in-between game. That's exactly the same shot. Frogman. Yes, it's Frogman. It's an in-between shot of Agent Smith morphing from a guard to himself and he just looks like a frog. He just looks like Mr. Toad is coming to town to help the children with their homework. Is that 3D? So here's the thing. That's 3D, man. Yes? No, he looks very 3D, the guy. Okay, continue on what you're saying. Oh, he is 3D. Dude, this morph is computer generated. And me and Jake, I think, who knows, like 4 or 5 months ago, we decided to watch The Matrix with this old commentary with Carrie Ann Moss and editor Zach Steinberg and John

18:33Gaeta. Okay. And John Gaeta said that this is the worst shot in the film. He hated the shot. I just hated it so much. The little morph. It is pretty bad. Yeah, he hated the morph. He said all the shots were pretty good except this one. The funny thing is that, okay, so there's a normal looking guy, a soldier, like a really big chin, army looking guy, who turns into Agent Smith, right? Which is fine, except it's not fine because he doesn't, you know, turn from one person to another. He turns into this in-between frog man who doesn't look like the first guy, nor does he look like Agent Smith. It's Homer Simpson. He turns into Homer Simpson for a second.

19:15Why? No one knows. Why wasn't it simpler just to turn from one guy to another? And of course, he has the Matrix code in his face for a second. Yeah, for some reason, because that's how the Matrix code works. When you transform in the real world, you see DNA. That's just what happens. You just see DNA strands circling around your mouth. It's ridiculous. Why does he do this weird... Maybe they filmed it wrong because Agent Smith is a little bit closer to the camera, the other guy. So the morph kind of moves forward, but it just turns into the frog man. It's ridiculous. It's amazing. Yeah. So John Gata officially does not sanction this image. Wonderful. Nor does she shoot. And there's just one or two shots left.

19:58I mentioned the rack focus, which was great. In the storyboards, it was particularly emphasized because the roof... Not the roof. The resets on fire. The roof is on water fire. The top of the gun, whatever. The barrel. The roof of the gun. The one with the hole where the bullets come out. Yes. That's in the foreground. The bullet hole. And it's out of the frame in the storyboard because, as we explained, the way they did the storyboards was an unconventional way. Storyboards saved the movie, by the way. They totally... They definitely did. They add a sort of...

20:39I don't know. What's a movie that has this sort of distinct comic book kind of cinematography that's very precise? That was... What? Hulk? Hulk? Wait. No. But no. But like... I mean, because Edgar Wright is famous for doing this stuff. Every shot is music video kind of thing. No, yeah. You're talking about real stuff because... I was joking about this one. Oh, you're like... Okay. I see. I see what you mean. Because of the comic panels in the movie. Remember that? Yeah. Oh, God. But I mean, like... Because Matrix maybe is one of the first that I've seen where you have these specific shots that are just like... You know, the composition is very deliberate.

21:23It's not like classic. I don't know what I'm talking about. But I think you know what I mean. Yeah. It's not. Yeah. It's very deliberate. It's very... These are the things that they were going for. They wanted to get these images. And yeah, the storyboard saved the movie not just because of that, but also because... Just to remind everybody, that's what convinced the studio to, you know, get this movie made. Because they had a really huge... Yeah. They had a huge low with pre-production. And most of the artists came in knowing that it was in trouble and it might not happen because they never got a green light for it. So, you know, the story about studios just kind of being lukewarm towards a film is a sad one.

22:05And it happens, you know, it happens more often than not, I guess. And the storyboards and the presentation of like how specific they were with this film was what made the movie... What made them go, yes, okay, good. This is great. We're going to make this movie. We get it. We understand it. And I had... I think I mentioned this on our podcast, on this one, on the Matrix one, because I'm doing some concept art for someone and someone is doing... And I'm, you know... And the moment I show a picture instead of explain it, they're like, oh, oh, I get it now. And it's always so magical to me because I take it so for granted. Yeah.

22:46Yeah. So there's another... So let's just... Let's just look at Morpheus here. He's trying to regain consciousness. And I always wanted to understand, how does he do that so fast? No idea. It takes the agents... He doesn't shout. It doesn't... Neo doesn't go... Hey, Morpheus! Hey, Morpheus! Morpheus! Morpheus! It's not that. He's just like... Can you imagine Trinity and Neo just stay there with their helicopter? Trinity's banging on the window. Tsh, tsh, tsh. I mean, sure, there were lots of gun... You know, gun... Gun fights. Gunpla. Gunpla. Gun fights. Gun fights that were very loud and very disturbing in the force around him. So he could have been woken up from that.

23:29But it's still pretty funny. Can you imagine just having shots of him reacting to the firing? Oh! Oh! Neo, is that you? Yes! Get up! Yeah. So the police that dies with the electricity zaps, that's... Sad policeman. Yeah, he looks like Vincent D'Onofrio. D'Onofrio. Yeah. That's it. That's my trivia. He looks like him. But it's not him. No. No! Oh! But Morpheus breaks the chains as he bellows, as you said before.

24:10Yes, yes. Do you think it hurts? What? Chain breaking? Yeah. Yeah. He probably broke his wrist. Cannot hold guns anymore. Well, I didn't... Yeah, you're right. He actually did. You're right. Because later on we see him just holding his wrist. Yes. That must hurt because it's just metal. I mean, I guess he's, you know, using his magic superpowers. Yeah, he has magic superpowers. And there's this music. And the only reason I'm bringing up the music is it's a little bit overdone. What do you think, Tim? Now that I was watching it, I think it has to do with build-up. I think watching it... The build-up's great. As we're watching it now, we're missing a couple of minutes of this build-up.

24:51So it doesn't work as great as watching it within the movie, you know, the context of the movie. By itself, it's definitely way out there. Especially because we start with no music. And all of a sudden... I love it. I love it. You know, if you build up from it, oh, Morpheus is going to die. We must fight for him. Then it kind of works. But by itself, it's... You see, context, kids. Context is everything. Context is everything. Yeah, like... Have you seen... What? Nothing, nothing. Go on. No, no, no. What have I seen? I was going to say, I was going to say, have you seen... I was looking at something. Some kind of screenshots of some movie without context. Context. Oh, and? They were funny. That's it. They were just kind of amazing.

25:31They were funny. What I want to say is, you know, context is everything. Like, Phil was saying, like, you know, this movie, the storyboards make it. But that doesn't mean, you know, for every movie, storyboards are important. You know, maybe a script. Like, some people shoot movies without any storyboards and they like to figure it out on the day. That's, you know... And that's because they're not visually specific, you know. So... No, they've got more to say. Yeah, it comes through the thing. But this, definitely, this one would have been a boring-ass movie. It was just like... It was just like plain, you know, shots of just like, you know, medium shot, close-up shot, and wide shot. That's it. That's all you got, buddy. Oh, man. Imagine that. Just boring old coverage.

26:11And boring old cinematography. And boring old... There wouldn't be any movie grading. There wouldn't be any green. Nope. There wouldn't be any blue. Wow. There's a lot of elements that make this movie. Tim, entertain people with that notion while I go and refill my bottle of water. So... Oh, let me talk about storyboards and pictures. It's got nothing to do with The Matrix, so I apologize. But a couple of days ago, my nieces came over, and one of them, I haven't seen Scott Pilgrim Versus the World. The comic book adaptation. Adaption? Adaptation? There we go. That's the word I'm looking for. Adaption. By Edgar Wright. And then later on, I showed him the comic book.

26:53And if you haven't seen those things compared to a guy, I go say you do it. Because it's actually magical. Because about 80%... Absolutely. Absolutely. 80% of those frames from the comic books are put into the movie. And what's amazing is, besides the two main characters, Scott and Ramona, the other characters are incredibly alike their comic book versions. Really? So you read Scott Pilgrim? Yeah. Crazy. And it's amazing because the art style is very, very minimalistic. It's like... That's what I was going to say. The art style looks like Steven Universe. Yeah. Yeah. Even more simpler because it's black and white.

27:34So there's not even color. But it's insane. Like I said, besides Scott and Ramona, everyone and their mannerism is just like... I have no idea who cast that movie, but they're a genius because it's perfection. Those characters just look like they popped out. And also all the scenes and everything are just directly from the comic books, which is magical. Wow. That's amazing. That's really amazing because like... I thought Scott Pilgrim... Because like the different... The different... The French. Ma-ha! No, no, sorry. I think I blew up there. The differentiation. The differentiation with live action and this really non-realistic, cartoony comic.

28:19It's amazing they actually did that. And it's also interesting that my first inclination, if I would have read Scott Pilgrim vs. the World before the movie, and I didn't read the comic, I just know very little about it. But if I just read the comic, I would immediately think, there's no way we're doing this live action. But somehow they worked. It's magic. It's perfect. That movie is... If you want to show it to someone, it's perfect. You don't say anything. You just maybe show him the picture. Like, oh, this is Scott Pilgrim vs. the World. We're going to watch it. Because it starts off some like stupid teen comedy that's like quirky and everything. And all of a sudden, the first fight appears.

29:00And anyone is just like, what the hell is going on? And then that guy starts singing and you're like, what? What am I watching? So that's a good surprise movie. Yeah. That's good. That's cool. That's pretty good. Why do you... What? Yeah. Why do you think Scott Pilgrim didn't make it in the box office? Well, one thing is that it was very in between times. I have to say because that sort of hipster scene of Toronto, whatever, that was happening in the early 2000s, like 2006, 2007 when this was based on, was kind of not popular or not

29:43known at that point. Like the fashion and everything was a little bit out of date. So it wasn't looking cool, but it wasn't the sort of hipster, the universal hipsterdom that happened a couple of years later. That everyone, everyone was like, everyone was like, did all this, you know, the vintage, like video games were popular. It was like right in between, like the worst timing possible. It wasn't underground where like all these kids who did do that, like pumped it up, but it wasn't when it was like universal. I think it was just like in between. So you're saying that it was ahead of its time. It was ahead of its time, but if also before its time. If I, if, if it was like, if it was like, oh, uh, you know, maybe it was made like 20

30:28years later, later, it would be like, it would be like, you know, oh, like retro. But. Right. But it wasn't, it was right after whatever that scene, you know, kind of happened. Okay. So visually it wasn't like even watching now, you're like, oh, that's, it's, but I don't know. Okay. I don't know. I don't know. Maybe, maybe marketing is always a problem with movies like this, you know, because movie like that didn't ever existed before. And when studios give it to marketing teams and movie like that, they're lost. They have no, no clue what to do about it. That's usually a good sign. The movie is going to be great. If the marketing is like, what the hell is this? If the marketing doesn't know what to do with it. No, it's just like lost. It doesn't fit into any boxes.

31:08What do I do? Whatever. Yeah. Yeah. Um, uh, Scott Pilgrim shares the same cinematographer than as, as this one here. Matrix. What? Really? Bill Pope. Bill Pope did both. Ah, I look at it. It's connected. I did it. There we go. I did it. You connected the matrix. Yes. And, uh, with that, I can't think of anything else to say about this minute. I think we're almost done. No, no, no. All I can say is I love the shot of Morpheus looking up, you know, and going, not, not, not when he goes, just when he lifts up his head. I like the ear because he, one of his eyebrows goes down for some reason. He's very suspicious. It's a very suspicious ear.

31:48It's like, oh, is it good or bad? I don't know. Also the, the Smiths, like just flexing their arms in the watery hole. Yeah, yeah, yeah, yeah. In the window. That's, that's one of the shots that I keep forgetting exists, but it's there. There's like all three of them just kind of like stretching. It's very comic booky again because everyone's, everyone's in focus. You have a closeup of a foot. I mean, arm, a leg, I mean, a hand. Sorry. An arm, a leg, a hand. And then the other folks back. It's very comic booky. It reminds me of, um, of, uh, what's it called? Uh, Sin City. That shot. If you made that black and white, it would be just like Sin City. Cause the rain and everything.

32:29And it's like the glistening glasses and water. And it's some kind of pyramid in the background. What is this pyramid? That's some Australian building. It's the, the pyramid. It's the pyramid. It is the Australian pyramid. Just one more mention about the music. When it goes. Um, that track is called ontological shock in the soundtrack. Oh, what does ontologically mean? Ontologic, uh, ontological is like in the mind shock. Something like that. So I guess Morpheus gets shocked ontologically back to life or something. In his mind.

33:09Anyway, uh, listeners, if you have any clues of what ontological shock might entail in this particular scene with this particular cue, let us know on the Matrix. Call us on our cell phones. Yeah. I think our Twitter is going to be more active than our Facebook now. Yes. Facebook. You know that yesterday I spent all night. What? Yesterday I spent all night backlogging. Like, every, every day is going to have a new, it's going to have a new. Oh, really? Never mind. Never mind. Nice. Nice. Okay. Get ready for spam, my boys and girls. Yeah. We'll see you on Wednesday. Me and Tim once again. Yes. Alone. I will. Yes. Prepare your bum hole. Ah. DP for my bum hole. I am the great Conjolio.

33:49Bye. Ever. The End