Minute 39: “This will feel a little weird.”

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, a podcast where we discuss the first film one minute at a time because we just love this movie. Hi, I am Phil once again. Welcome back. And Jean Reno was asked to play Agent Smith, but he didn't and he didn't want to move to Australia. Plus he was in Godzilla. That was a great film, wasn't it? Hi, I'm Jake. I don't have trivia again. I never have trivia. Well done, Jacob. Perfect. I love you. Thanks. I do a lot of research. You're the best. You're the bacon. Hey, Tim, how are you? I'm good. I'm good. It's autumn, man. Productivity is highest. Is 100%? The computer's not fanning like a maniac. I'm not going to the moon, so it's the best.

0:40That is great. That's great. And we have, once more, we had a guest the last week, which was our very own Morpheus, Stan. But this time we have another guest and we're not alone and we probably won't be alone for a long time. And he is Cy Kelly. Hello, sir. How are you? Welcome, Cy. Hi there! No, no. He represents the... Has it broken a dead? No, not the voice. Has it broken a dead? This is not what we were thinking would happen. Hey, guys. Hey, there he is. I'm sorry. It's a bit of Irish humor for you there. There you go. I like it. I like it. I like it as well. That's why I laughed.

1:21So, Cy, you're recording live with us from Northern Ireland. That is true. From my little bunker in the back garden where I do all my editing. Excellent. And the reason you're here is not just because you're friends with Tim. And I think that's where your history with us and... Well, not really us because this is the first time we actually met you. This is the first time we met. Hi, how's it going? Yeah, I think this is like the first time you guys talked. This is our first proper interaction apart from my stalking you guys just on Facebook and Instagram, I think. Nice. Yeah, well, I think we did that as well. Yeah, so evens out. Feeling's mutual. Mutual stalking. But also because you've been making movies and you're generally a filmmaker as well.

2:06And it's so great to have that kind of a perspective here. Actually, it kind of syncs up with all of us anyway. But still, it's good to have... Not me, I'm not a filmmaker. But it's really good because you're actually doing things. Unlike me who's sitting on my butt doing nothing. Welcome. Thank you very much. It's really nice to be here, guys. I've heard a lot about... Tim was telling me a lot about the stuff you're doing here. And I listened to a couple of episodes. And I have been a little bit excited, actually, to do this. That is awesome. We're glad to have you. And that comes into segueing to me asking you, what do you think about The Matrix? What does it mean to you? And if you want to talk about how you got introduced to it, that would also be really great.

2:46Bloody hell. Wow. Okay. So I'm a little bit older than you guys. Not as old as my old brother, who's an old fart. Yeah. I actually find it really, really fascinating. It's the one thing I keep thinking about, actually, about this show, is that this is your childhood movie. It is. Yes. That blows me away. Because everybody I'm around is like, oh, Star Wars and Alien. They're the childhood movies around me. But The Matrix, I was, what year was it? It was... 99. 99. Yeah, it was 19. So... Wow. I was already shaped and formed and destroyed long before. That is amazing. But no, I absolutely love The Matrix.

3:27I'm not a huge fan of the sequels. I think they're eye candy. They're beautiful. But I just felt, whenever the first film ended, and I heard they were talking about sequels, I just kind of thought, why? The story was told. It's done. True. It's finished. It's perfect. Leave it the hell alone, you know? Yeah. That's definitely a huge thing about the film is that it's a very self-contained storyline. It kind of ties up all the loose ends at the end. Yeah. Yeah. So the first time you watched the movie, was it in theaters or what? Oh, yeah. Yeah. It was in Belfast. Oh, what cinema was it? One of the cinemas in Belfast, anyway. It was downtown. That's the only one I know. The famous Odeon. No, it was long before the Odeon was even there.

4:08Man, I want to say, Tim was telling me when he lived in Belfast, I thought that was amazing that I think at the Odeon, they had these retro screenings. Is that right? Yes. Retro screenings. Where they showed old films. Yeah, yeah. Was it Tuesday or Monday? I think it was. I think it's a Monday. It's a Monday, yeah. A dream come true. That sounds amazing. Yeah, that sounds fantastic. Imagine watching Commando in theaters. Just like magic. Well, that's the wonderful thing. I had just been privileged enough to see Terminator 2 in 3D in the cinema. Guys, it blew my brains out. It was the way that film was meant to be seen. I mean, I could just rant for ages about how good it was. But for me, the best part about it was seeing it in the big screen because I never got to see it in the big screen.

4:51I know. Guess what? I never got to see Terminator 2 nor The Matrix on the big screen. Oh, no. We have never seen The Matrix. We were too puny to go see it in the cinema. And there hasn't been a Retro Night yet. Not here, sadly. I mean, maybe, you know, in the... I was waiting the entire time they started that program. I was in Belfast. I was like, every Monday, I was like, please beat The Matrix. Please beat The Matrix. Well, you know what we need to do? We need to just get you guys to come over and just plan it. Just do it. That sounds amazing. Because we've actually done it in the QFT before. We've screened films that we specifically want to see. That's how I got to see Aliens for the first time was actually in the QFT in Belfast. Dude! Whoa!

5:31And it blew my brains out again. It was just amazing. Anytime it's been screened at like a film festival event, I have made sure that I've gone to see Aliens again. That's awesome. We did another one recently where we saw... What was it? It was in T2. It was in a huge hangar. So the audio was terrible. There was... Yeah, yeah. The echoing was bouncing everywhere. And it was... Yeah. But it was... Hey, it's Aliens in the big screen. I don't care. Yeah. Now, the question here is... This is an important one. Okay. All these screenings, were they film or were they digital projections? Ooh, that's a great question. That's a great question. I would say the retro ones. Oh, no. You know what? I don't know. I'd be really pissed if they put a DVD on. Oh, no.

6:12I actually... You know, it's been a while now that digital has taken over all the theaters. That's very true. I have to say that... I think the GFT still have the original projectors in there as well. Yeah, I think in Odeon, they had the film ones because I remember we went to see a movie that had... Well, no, not to be honest. I can't tell because I remember there was one we went to see, which is next to that. You remember that... I think it's still probably open. That golf place where we used to live next to... What was it? Dundon? Where do we live? Dunbar? I don't know. I forgot. Golf place. There was a new cinema that opened with a new digital... Oh, yeah, yeah. The Pirates Cove. The Pirates Golf. Yes.

6:52That one. We went there. That's the one. Yeah, the cinema opposite there. That's the normal cinema. Yeah. And I remember we went to see a movie there when they just opened the cinema. And I think it was like advertisers digital projection, everything. Maybe it was digital 2K or something like that. It was like high resolution. But I remember there's the worst sound in the world. It was like so loud. My ears died. I think we saw like G.I. Joe or something. I can't remember, man. I mean, it was... But I think... I'm just Googling it, actually, to see. Strand Cinema has a 35mm projector. Is that a rarity these days? To have like an actual film projector in these multiplexes? I would say so, yeah. Because they're always boasting about, you know, oh, we've just got our new digital screens and all that kind of stuff in. And it's like... Yeah. I would imagine probably like more indie theaters would probably have like film projectors.

7:34Retro, yeah. Yeah. Like local, like, I don't know, private. Not those big cinemaplexes. For the guys that have a difference. What you need then is the... You need to look for the cigarette burns. That gives it away, doesn't it? Yeah, yeah, yeah, yeah. That's true. Absolutely. But not to keep continuing on this tangent, but I have to a little bit. But guys, to say, I took you to the 4K screen with the Dolby Atmos sound. Is that the best digital experience you guys had? Or to me, it definitely is. You're talking to me or talking to me? Yeah, talking to Phil and Jay. Because in British Lava, they have like a... They had a 4K projection. And it was the sound, you know, the... Are you talking about Star Wars or what? I don't know which movie we saw there.

8:14I usually go there. I like the cinema that you go to has a nice projector. It's nice. Yeah. I think, like, 4K, I guess. I still feel like the contrast is not there yet. What's what I wanted to say? I wanted to say that it's funny because, like, I was a big proponent when they started coming out digital. Me too. Because I love digital. The best is the future, which is true. But it's so funny after... What's it been? Like, 10 years, I think, since the big transition. I really miss watching movies on film. Yes. Because there's magic in that. There's this sort of magic that happens because that contrast is still amazing. Well, and the bounces and the grain and the faded edges. Yeah. It's just part of the experience. Magical. What year are you guys living in there? Yeah, yeah. Where we are old people. So, do you remember, Sai, when you saw the movie?

9:01Did it have any effect? I know in 1999, another movie came out that kind of shaped your idea of movie making and inspired to make, you know, the stylistic choices of your first movies. And it kind of still has an effect on movies you make, you know, Fight Club that came out in 1999. Oh, yeah. But was Matrix on your radar for a while? Did it, like, inspire you to do anything? Or what was the... Absolutely, buddy. Sorry. The Matrix is kind of close to my heart for a few reasons. It really influenced my filmmaking for a good while as well, actually. But, in fact, if you look at my short film, I actually did do a whole thing with a telephone guy talking to it in a telephone the whole film. It's true. Ah, nice. It's true.

9:41My film is based on Dante's Inferno. The Matrix was taken largely from, as you guys know, Ghost in the Shell. That's where it borrowed a lot from. And before that, it was the whole theory of the Descartes, isn't it? I think, therefore, I am. The idea of the brain in the vat, if you're plugged into the machine. So, I mean, I loved... At the time, I was studying a lot of philosophy, and I really kind of was wondering, what is real? That's great. Is any of this real? And then The Matrix comes out. I'm like, holy shit. Done. Yeah. But, to be honest, I mean, the film, it blew me away. It was in a period as well when I was in university, in 1999. I was in university until about 2002, 2003, I was in tech before that.

10:24And I ended up getting into a Cinemagic course, which, like, tons of tons of people from the UK applied for. And in there, there were workshops for, like, acting and sound and camera and directing. And I got into the class. Loads of people applied, and only a few of us were taken in, which, again, was a huge chuffing moment for me. He's like, oh my god, I got into the class! Yeah. And it was, I went for a visual effects class. Oh! And the guy who came over was a guy called Brian Friesinger, who was actually from ESC FX, who did, was one of the companies that did the Matrix effects, like Jello and Bullet Time and all that kind of stuff. Dude! So it was amazing. So it kind of brought, it was like a year after the film had come out, I was still reeling

11:06from it, and it brought it all to life for me. Oh my god, I could hear inside information about what John Gator was like all the time, and, you know, all this stuff. Yeah, man! It was awesome. John Gator! The Gator Force. I ended up winning an award. I won the thing, and it still sits in my mom's mantelpiece. Ah, that's nice. So it was all kind of part of the same energy I was getting from watching the film. It's kind of like a piece of my, not childhood, but a piece of my kind of career, I guess. That's awesome. Yeah, my journey of making me feel like I could actually be a good filmmaker. That is an extra question. Oh, it's through your mind. That's really cool to know. I'm so glad that you're actually on this. This is perfect. This is perfect, my friend.

11:46Cool, cool. Yeah. All right. With that. And what we're going to do now is we're going to analyze minute 39 with you, Si. Excellent. Okay. And we shall do that. Minute 39. Um, you wanted to know what the Matrix is, Neo? Morpheus asks, and immediately has Trinity take him to one of the chairs, where an ominous giant plug slides into the back of his head. And with a moment of weird feelings, Neo is transported into a blank white room. Morpheus soon appears out of nowhere and declares that this is the construct, their loading program. They can load anything in there. Is that it? Oh, well. I know.

12:27Every time we watch, we get stuck like, oh, we're watching the movie. And then you're like, oh, damn it. Oh, no. I was enjoying that. Every time. Yeah, I know. Welcome to our world. We torture ourselves like this. That's okay. That's okay. Because yesterday night, I was watching this on repeat for, I don't know, like hours. Yeah, like five times or something. I'm just making notes, as many notes as I can find. Good. Yeah. That's good. So, yeah. So, we have the wide shot here at the beginning, where it pulls in to Morpheus and Neo, and then he just puts his hand on his shoulders, and he's like, you wanted to know what the Matrix is. And the funniest thing is that Neo doesn't even respond, but he's like, he just nods, and Trinity comes in, and they already start putting him in.

13:07They already start putting him in. They've got to get down to business. Yeah. So, does Morpheus do this? So, I want to ask, does Morpheus do this every time? To everybody? Just like, put him in the pool? Yeah. Just like, you want to know what it is? We're going to show you what it is. What do you mean? To every new crew member? Yeah, to every new crew member that he recruits. It's like, maybe Cypher at the beginning, or Trinity as well. Well, I think that maybe... I think we talked about this in previous... Sorry, excuse me. Anyone say anything? No. I'm just thinking... Sorry to interrupt, guys. No, no. Please, please. You interrupt.

13:47Anytime. Yell at us. Do you feel like... Just thinking, I'm just watching it through again. Do you think... There's a look in Morpheus' eyes in this, where I just feel like you get that whole sense of hope that he is the actual one, right? Oh, yeah. Do you think Morpheus has woken up hundreds of people thinking that they're all the one? Sighs on my side. Yes. This is an ongoing subject in our previous episodes. I've been pushing this theory since episode 10 of Morpheus being this sinister man who just keeps going. He's completely convinced, and he's just going to do it. And every time he fails, he's like, you know what?

14:28Fate didn't have it. Back to the drawing board. Bring me another test subject. Delete that white room again. We're starting again. We're finding the next white male. I'm just wondering, what do you think? Does he not say stuff at the beginning of the movie, when he first gets to Neo, that he's been searching for a long time, etc.? And Trinity gives stuff away, I think, as well, where he hasn't found somebody like Neo before. Is that the case? I need to watch stuff again. I really hope that's the case, because otherwise there are many poor people who died. We didn't make the jump anymore. I mean, I can never figure it out, because I'm guessing that he basically just recruited people, and it turns out each of them didn't really do anything special, I suppose.

15:09Well, the thing is that in this story, I don't think, if we're just talking about canon, like what's in the movie, it pretty much kind of tells you that Morpheus hasn't found anyone like Neo before. So it's not like he just goes around telling anyone else they're the one, until a later episode, which we will talk about. But even in a wide shot at the start, you can see everybody is actually standing watching Neo. It's ceremonial. Like, is Morpheus crazy, or is this guy? Look at Cypher, the way he's standing. Oh, Cypher. Look at his face. I always wondered about this.

15:50Like, the crew on the Nebuchadnezzar, I always wondered what their actual personal beliefs are as to this matter. Yeah. Because we know Cypher is obviously a complete disbelieving guy. But let's say Trinity, Trinity's pretty loyal, for instance. Everyone else is pretty... But Cypher wasn't always disbelieving. I guess. That's true. He's kind of the Judas kind of character, isn't he? He used to believe he followed Jesus for a long time. But then towards the end of it, just went, you know what? I don't think he's going to make it. And I think that's what happens with Cypher. Yeah, definitely. I mean, you can look at it this way, that maybe it doesn't really show in the canon of story, but maybe freed all these people that is on their crew, thinking maybe they're the one.

16:30And then they, you know, they went to the Oracle. And no, they're not. I don't think so. No, I mean, I'm not talking about random, random, you know, Neos who died. We can even look at the crew. I don't think Morpheus is that obsessed. He's just seeing ones everywhere. Well, you know, like maybe he thought it was Trinity. Like, he doesn't know. We don't know what the Oracle told him. I don't think so. She told him he'll find a one. So he's just unplugging people. And it was... No, that's dumb. A little lame theory. I don't like it. So what? He disconnected all these people to help to find a one? I would kind of feel bad. Yes. Yes. You're free to find a one. He's a good guy. He's freeing people. They're bringing people into Zion. They're helping the cause. No wonder Cypher is upset. They're fighting the war. You know what I mean? Yeah. What's the thing? You get unplugged and you're like, no, you're not special.

17:10There's some bad apples in there. You suck, Cypher. Look at this code. Help me find the beautiful, you know, white male who's like... I can imagine him freeing Trinity, but freeing Trinity because she's Trinity and knowing that she will only ever be Trinity. That's true. Yeah. Yeah. You know? By the way, interestingly... Yeah, exactly. There is an interesting Animatrix episode. Oh, yeah. The one with the detective thing and stuff. Yeah, that's pretty cool. That's like supplemental material. It is. I try to take stuff as just a film only. I totally agree. Totally agree. Because I'm thinking about two and three and two and three will influence a lot of our conversation because we know what happens, but I kind of... Oh, yeah, yeah. Yeah.

17:51Well, so far what we're doing is we're kind of just talking about, like you said, isolated. We isolate the film. We address it. We address it. Yeah, but if we have comments or something we mentioned, we don't like integrate it to... Yeah. Fair enough. Yeah. So that's a very good point. You mentioned that. Hard to ignore because the general knowledge of maybe people who are fans of this movie, they see, you know, like if you're talking about, oh, it's, you know, what is the Matrix? And they go, well, it's a version of the Matrix because in the sequel, there's, you know, different versions. And so when we talk about it, sometimes you kind of have to mention just to avoid that. Of course. Fair enough. Yeah. To have like that. We all agree we're just basically talking about the isolated film. Yeah. Yeah. More or less. Or things in our mind. They're not real. We just made up. Well, I do have some interesting info on the set that they built for the Nebuchadnezzar ship

18:35because there's a wonderful wide shot we have when we're starting with. What's great about the stage here is that, you know, Owen Patterson, who's the guy who, our extraordinary production designer for this film. Does he have like a mustache? Yeah. He has the amazing little goatee. Like the extended, the super long soul patch. Yeah. He does the super long soul patch. Now I remember the guy. You just described him. I'm like, instantly know the long, creepy soul patch. Owen Patterson, you know, and his crew, they actually made Jeff Darrow's crazy architecture come to life. You know, Jeff Darrow's the concept artist for the film. And he said that he got really, really terrified of how they're actually going to build that

19:18stuff because of how hyper detailed Jeff Darrow's artwork is. We talk about him all the time. It's just really great. He really created the entire, really, he's a madman in a great way. He's a, he's a madman. But also the, like the, the Nebuchadnezzar was made to look obviously like it's, you know, it's a really rusty and old ship. And, um, the idea behind that was to make it feel like, like a marriage between man and machine. So they, that's why they put all these cables like we were talking about last episode. And also, um, and also the chairs, by the way, if you look at those barber chairs, I really love the chairs. Yeah. They actually were like referenced, uh, they use reference for, from, um, old barber chairs,

20:00like from the 1960s and fifties where they, you know, you sit down and have a nice shave. And, um, and also they tried, sorry. Especially the restraints. No, I just want to say that those chairs, they look really creepy when you're looking at the details. They're really creepy. They have like the things that you lock your feet in. So that's like a red flag. Like, okay, what's going on? Nice torture chairs. Yeah. On the side, like there's like chunks missing and it's not like, you know, worn out. Like somebody's been sitting it, it looks violently torn out. Like somebody's violently like fidgeting in it. It's like, that doesn't look. Yeah. It's the other 200 news. He's unplugged.

20:41That didn't work out. Oh man. Um, and yeah, they've also tried to put a MC Escher kind of look to the, many of the real world designs. So like, well, you don't get much of the machine world in this movie, but when you look at the sewer pipes that they're going to go through and, um, many of the cities, they kind of try to make it look like it loses perspective more or less. And also another interesting thing about the, um, about the set is that the entire ceiling is actually floating. So they actually harnessed it on, on, uh, on wires to. Wow. Why is that? Like a giant. And then they have some of the walls, uh, movable as well. So they could get different angles to move.

21:23So that's pretty cool. I think I have stuff that I've found. So what's your take on the aesthetic of the real? I'm just, I'm just looking at the, uh, the foot pedal, the left foot pedal that he puts his foot into. Um, I've noticed there's writing. I'm just wondering, I'm looking at it up, seeing what it is. Oh, it looks like a T. It looks like the icon for true utility, but then there's a huge S underneath it. Oh, okay. Yeah. That is a T. S. Huh. That's pretty cool. I'd never noticed that. Yeah. That's a T. I'm just looking at it to see if it means anything, but I can't find anything on it. Or the T could be a, uh, sort of, um, like a Spartan mask with an S. Oh, nice. It's a queen alien head.

22:04Yes. Yeah. It's all connected. Yeah. I just think Murphy should have plugged in here. Well, there's a lot of, um, like we talked about this before, but there is a lot of, uh, a Juggieger in there. Yeah. Yeah. Juggieger. There's a lot of that. Yeah. Um, of course he's probably an influence. Oh, definitely. He wouldn't be. I mean, yeah. But yeah, I mean, again, with the, the ceilings as well, you're talking about a lot of the sets for alien that I've been, I was trying to do a, we were talking about doing a short film, an alien based short film of the cannon and, uh, dude, thinking about, yeah, you know, absolutely. It was really exciting. Um, we're still thinking about it, but it's a one scene, two actor kind of thing. And we're looking at the most important thing about not to jump on the alien for a second,

22:49but just is the sets. Um, and we noticed the sets were mostly like 45 degree angles. There's a lot of that in alien too. Anyway, aliens, uh, and just looking at the Nebuchadnezzar, there's a lot of that going on just at the 45 degree ceiling. It feels like a giant tent of technology. It's like, yeah, it's wonderful. It's a wedding. Never used to it. But look at the background as well. All those computer screens and wires and cabling. And that's just a nightmare. The morphers should have unplugged someone who's good at cable management. Just like skip Cypher, just get a sysadmin, a guy who's like completely OCD. And he's like, I'm going to put all these cables in my box. It does kind of look like it could be the inside of the human body as well with all the, like the cables could be like veins and it looks like you're inside.

23:31The pathways. Yeah. The brain. That's cool. I mean, that all makes, makes a lot of symbolic sense as well. Yeah. That's true. The quick thing about, there's just a, just a quick thing about, uh, Owen Patterson. Who's the, before you get to Owen Patterson, can we talk really quick? Soul Patch. What? I always wanted to know, cause there's a shot here where you see a lot, there's a lot of these LCD monitors, right? Yeah. And there's like this weird fungus on the screen. And I always wondered what that is. I don't know. Is it fungus? Yes. They survived the nuclear holocaust of man versus machine. Where is this? Okay. So, well, if you can see on the edges of many of the LCD monitors, like a six seconds,

24:13for instance. Yeah. And look at the left screen. Is it fungus? I always thought it was like, like gunshot, like, you know, like gunshots, you know, like gunshots. They're living in the rough bit. Okay. We shouldn't train in the real world. Maybe we should make a simulation in the matrix. They had a squiddy attack. You know, these are tetanus issues. Do you see the screen, Sai? Yeah. Yeah. I'm looking around. I thought they were like bullet wounds, actually. Oh, you're too. Yeah. They look like bullet wounds. Yeah. But it wouldn't make sense to be bullets. No. No. But to be honest, like, if you look at, okay, we just, Sai was just talking about this and we shouldn't do this, but if you look at the canon from the other movies, the people who are doing this always start over again. So they have no technology, have nothing.

24:54So basically they built all this from scraps they find. Well, I don't think so. So they build it from the scraps of the older ships that were destroyed by the machines, right? Yeah. That makes sense. Or even just the machines. They steal stuff or they find old technology from back in the day, you know. Yes. Oh, that's what they definitely did. That's the most plausible, I think. Just like scrap heaps. So it could be fungus? Leftovers. Everything. Or it could be war, you know, technology. So these screens could have been utilized from an earlier war with the machines and they could have, you know. Yeah. Yeah. That makes sense. Yeah. There's a lot of, I noticed in this film, there's a heck of a lot of like axle grease all over the place. Yeah. Yeah, there is. So it could just be like greasy mitts just fixing engines and not.

25:35But look, look, Mouse is standing right next to that screen. He's dirty. He's filthy looking. He's just been touching shit again. And Morphe's like, stop touching my screens. Put your damn fingers off the keyboards. Who's been on my mouse? You know. Keep it clean. Keep it clean. Mouse. Yeah. Stop. Mouse. Touching my mouth. Are you touching my screens again? Anyway, sidetrack. Sorry. Yeah. Soap patch man. What did you want to say, Phil? Owen Patterson. I just wanted to say he's an Australian production designer. He also worked on other Australian films like what we mentioned, Priscilla, Queen of the Desert, which was the Hugo Weaving movie where he and Guy Pearce and some other Australian actors were cross-dressing as performers.

26:17That's right. But he also did production design for Speed Racer. We know that. V for Vendetta, obviously. Godzilla 2014. Really? Ooh. Yeah. And Captain America Civil War and Gods of Egypt. Ah. Directed by Alex Proyas, who also did Dark City. Woo! Whoa! Oh, there you go. Look at that. That's why they get there. Just full circle. I'm just connecting things. So there you go. The use of the sets and things. There's special deals. Mm-hmm. Probably. Yes. So. So, yeah. Anyway, back to the minute here. So this all feels like it's a huge deal for Neo. You know? There's lots of information this guy has to be taking in at the moment.

26:59He just got up to meet the crew. He's still in post-shock, in a way. Yeah. I mean, it's been months, probably, because his hair... Not months. Maybe like a week since his hair grew. But he still lost. He completely lost. We could also presume that he was maybe like, you know... Unconscious. I don't know. Who knows? Yeah. But also, wouldn't it be a huge shock to see all these... You know, he's going from all these styling dudes with black leather and kung fu skills to these ragtags with crappy Star Wars sweaters. Yeah. The real world sucks, doesn't it, guys? Exactly. No one has any makeup on. Ugh. You guys look so good. Looking at you now. Ugh. But it's funny that you guys now mention, like, we're talking about how does Neo feel?

27:42How does he think? But what you mentioned on the previous episodes, Philip, that, you know, Neo is the vessel of the audience for this. He is. So watching this movie as you're watching, you're never really concerned with what Neo feels because you project your feelings to it. No, you're not. You look at everyone else and how they, you know, how they moat and what they say. So it's funny to analyze from his point of view, like, he's just all, you know, again, for just for the ride. But it's good that you mentioned that because Morpheus asks him, do you want to know what the Matrix is? In this minute. And Neo doesn't even have to talk. They're already strapping him in. Because we're all going, yes, we do. When we're watching the film for the first time. Yeah, I think that's everything that came to this. It's a great testament to the concept that they got.

28:22It's very, very strong. Getting the bombs. I think that's kind of a crazy moment when we asked him that about the Matrix. Because that's basically everything Neo's been through so far has led him to this point. Yeah. And there is 100% no going back. And Neo realizes that he's in this, whatever this is, this future or his, you know, destiny or path or whatever, whatever's forward is, he can only go forward from this point on. Oh, yeah. And so it's pretty wild, you know, to go from, like you said, the sleek look and the modern world to suddenly. Yeah. The real world. To suddenly, okay, sit on this chair. This will feel a little weird.

29:02And it's like, oh, and by the way, like, we're going to plug you into a program. Yeah. Yeah. So that needle. Disappointment, you know. He was sold on these cool looking dudes in sunglasses. And, you know, now he's just getting needles up his head. It's like, guys, it was all about clubs and cool music. What was this? Yeah. So he gets stabbed in his head. Yeah. So this is the point. We finally get to see. We don't go back to the Matrix, but we go into the construct. I just wanted to say that it's really great that they actually had that little statement Morpheus makes. It's like, this will feel a little weird. Yeah. Because it adds like just a little level of reality to the ridiculousness of sticking

29:43a plug into someone's back of their head. Needle. Yeah. And it's good. And I really like the idea that they added some kind of flavor to it, like just having some kind of pain or some kind of strange feelings. Anyway, just a good transition. Because thinking about it without any kind of, this won't feel weird. It's just, you just click a button and he goes. Yeah. I mean, it tells you how sort of, you know, cold the machines are because who designed that thing? Like, you know, why does it have to be a needle that goes all the way up your brain? It can just be nerve endings that connect to your, most of the stuff goes through your spine, spinal cord anyway. So you could, you just hooked up to that.

30:23You don't have to. Yeah, you could have done that. Your machines are like, ah, you know what? Just make it safe so it doesn't fall off. Just, you know, safety. Stabbing him in the head. Just make it safe. So, yeah. When he, when, when they press the button and Neo goes, ah, but he doesn't make any scream. The music screams for him. You see, I love the sound design in that whole bit. I love the sound of the needle sliding into his brain cavity, but that's a skull cavity. And then also the high pitched, like, if you stuck your fingers in your ears, it's a really great sound of just this high pitch, you know?

31:05Yeah, definitely. I'm kind of back and forth here, just loving it. Totally. It's one of those lovely moments in a film where someone doesn't actually need to scream to really communicate the feeling of having a four inch spike shoved in the back of your head. I was going to say that. That's wonderful. And then we have that closeup of Neo in the real world and it cuts to like some reaction shots and it goes into a closeup of Neo again. But now, camera pulls back. Everything is quiet. Wonderful. Yeah. I'm just so glad. He's in this white room. They don't have like a Doctor Who tunnel that, you know, every time somebody plugs in, you go through. You're like, oh, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, Well, not without the music, but like they always like when, when somebody gets connected to like one of these devices, like VR or something like that, or a copy, like there's always

31:48like, you know? There's always the urge. Imagine Neo in Morph is like fading in and fading out. That's what I was saying. Like there's always the urge of adding some kind of visuals or like, you know, because you can do it, you know, we can make them look into, you know, we have CG, we can make them look like liquid metal, like the T-1000 and stuff like that. Oh, yeah, yeah, yeah. But it's so wonderful that it's just three cuts and that's it. That's all it is. There's no magic to it at all. And also the fact that you've got that side angle on the scream in the chair and then a side angle of him waking up to the beautiful rotation. Yeah. And it's like, oh, that was a lovely touch.

32:29You got, you got that. This is a different location kind of feel, a different, uh, this is a transition into another world just with a little rotation from the camera. It's a lovely touch. You're right. It's all really simple and subtle. And then the change of the, uh, the, the sound, uh, you know, the echo, the room. I want to say, I thought they were apart. I love that because it's completely a contrast between this crazy, you know, like noises and stuff and the Nebuchadnezzar and suddenly it's like a dead space and it's just like, whoa. Yeah. And Neo's voice is very close to the mic, isn't it? It's, it's very close to him. They're both are because it's like, there's no reflection. So the sound is very studio. Like there's a bit of a room to give it a space, but it's just so lovely. It feels like a, it feels like an actual, uh, nothing is loaded in that space.

33:12You know, they're like, they have a ground and that's it. And that's, that's so cool. It just resets. I mean, I, I wonder these things because sadly I was, you know, a kid when I watched the first time and then I watched it like a zillion times. I don't remember these initial moments and how I felt, but I'm always cured to ask. Like, does anyone remember when these moments of revelation come and you're like, it is, you know, a program. It's like, it's, it's not, it's not some kind of dream or something like that. It's like, this is another confirmation that you get, you know? Uh, I, I don't remember anything. Uh, sorry. Dude, you were old. No, you're old. You remember shit. No, I'm too old to forget shit now.

33:54Oh no. Yeah. So you're, you're asking, sorry, do I remember the feeling of the revelation going, oh my gosh, it's all things. Yeah. Yeah. Uh, sure. Yeah. I remember it. Okay. Cool. Cool. You're the best guest we ever had. We'll keep it that. You'll just, uh, yeah. That's awesome. Thank you. I've got a question for you. Yes. Oh, please. Just looking at the, uh, the white, the white room, as I'm going to call it from now on. Um, there's a lot of green tinge on Neo, on Keanu Reeves, the back of his, his head and neck. This is all green screen, right? Oh no, no, no. This is actually, they actually filmed in a white room. Yeah. Really? Do you know what's funny? If you look at Morpheus, you can actually look at around where his legs are.

34:35There is an infinity curve in there somewhere. Yeah. You can see it to the near edge. Yeah. But I thought it was green screen. I don't think it was green screen. From what I've gathered from the behind the scenes. Can we confirm? It was. Yeah. It was, it was definitely, uh, white. It was white. Okay. Um, my question was going to be, there is a beautiful green tinge to the entire film. Do you think that was put in because they knew they'd be using a lot of green screen and wanted to get rid of the, uh, the bleed? Oh yeah. Yeah. Yeah. They used, um, they use blue screen for all the matrix stuff because most of the matrix, uh, stuff is green. So the blue will be easier to cut out because the green doesn't bleed out. And for the, uh, real world stuff, they have a green screen for the opposite because

35:19the real world stuff is blue. Uh, so yeah, yeah, yeah. Yeah. But the stylistic choices of the grading, I think, I don't know if it's actually based on, uh, sort of emotions or, you know, the color of emotions, but I think clearly on from beginning production, it was, you know, that everything in the world will be blue, kind of represent in that kind of color. And then in the matrix, everything would be green. Yeah. It was all quite green. Um, that's one of the, one of the aspects I loved about it was just the look of this beautiful kind of green tint to everything. Yeah. I mean, it is, it was the curse afterwards. Everything was, uh, green tinted and everything took off. All the movies had digital grading. But then again, here's another thing. Uh, Fight Club came out at the same time and that was also very green.

36:03Hmm. It had nothing to do with the matrix. I'm just saying that both of these came out at the same time. Yeah. And I think that influenced it as well. Like everybody wanted to do green tints after these two films. Oh, you think it's the, it's the look they desired actually was just a green. Yeah. Oh yeah. Yeah. For the matrix. Definitely. They tried making it look like it was, uh, it was like the faded image of a old, uh, CRT monitor. Okay. So it looks like it's inside a computer. The matrix. Are you ready for a really annoying point? Yeah. So the construct, uh, is not technically part of the matrix. No. Well, no. That's inside a computer. Why would it be green tinged? Oh, that is true. Yeah. Yeah. But it gets more like, it's still virtual.

36:44So yeah. Virtual world. Like, I like to keep it more abstract, but then again, you know, that'd be funny. We have to go into the nitpicky stuff as well. If the machines are like, Oh, the world looks weird. You know, we coded all the graphics for the humans. Let's try to make it green a little bit. Like, like they actually purposely made the entire. Oh, thanks guys. Oh, that'd be hilarious. Just like a little bit more green. So like there's a guy. More green saves power. So I think. More green. Very good. Eco-friendly. It prints money. Maybe every year new color. They change it to seasons. The Chinese Zodiac. The red seasons. Yeah. Um, one more question before this episode ends. I think we're at our end here.

37:26Yeah. Just, just wanted to mention that Morpheus is so cool. And he was just looking around the steadicam just moves back and forth. And then Morpheus is there. This is the construct, right? Now, here's the thing. He's preaching. Morpheus, um, had to get plugged in really fast to get there in time. That is true. Okay. I did not think of that. I was thinking earlier on, how quickly is he there? Trinity. Did he just press pause or something? Yeah, yeah. That's, that's the, that's the easiest argument of just, you know, they could wait until, no. Oh, here, no, look. There's a, there's a progress bar. Look. Yes. Okay, yeah, yeah.

38:07Like delay him by a minute. Yeah, yeah. Yeah, look. Wait. And it jumps into the chair. Come on, we gotta put it in. Oh, yeah. Come on, Trinity. Quicker, quicker, quicker. Just plug it in. I don't care if it hurts. Do it. Skip the Vaseline. Just do it. Just get it in there. Go, just go, go. Let me do it myself. But, or maybe he's got like a little program that he writes that's like a little temporary one that he puts in there until he comes in and it's like, we're waiting for a moment. Okay, load me in, load me. And then the temporary one goes away. It's just more complex solutions. He's in control of everything. No, I think there's time between that. Like, there's time. When he hits load, you can see the progress bars moving and they hardly get up anywhere. And then it's, I reckon, between the next shot where his eyes are closed, I reckon there's

38:50a good 20 seconds in there. Yeah. They should work on their user interface, though. That makes no sense. That's a pretty good point, though. The Acra font. What were the numbers doing there? How useful is that? Oh, look. Supplement drive number 843-895-843-5. It was 1999. People were very fascinated with internet. Just put numbers in there. Yep, exactly. Just put it. Numbers are scary. Put it. Should we use anything else? No, just numbers. Maybe A and C. I was wondering about this. It says supplement drive. What does that mean? Let's talk about that. That's the thing. It's the supplement drive. I don't know. What is the supplement drive? It's a spare one, isn't it? I don't know.

39:30It's the addition to the main drive. Wait. I would understand it's like the construct loading. But what does supplement mean? It's like extra? It's kind of like a supplement is something that goes with something else. I'm going to Google this. I'm not going to talk shit. Hold on. Supplement. I just know supplements from vitamins. Is it not like a supporting thing? Supplement. Dictionary. Supplement. Yeah, you're right. Like something that you take with something. Right. So I think added to something else in order to complete or enhance it. It's their clothes. Supplement drive.

40:10Get their clothes. There you go. Yeah, yeah. Imagine if they mess up and they're just naked there. And he's like... Shit. Neo. I got Porphyus. This is very awkward. Porphyus just doesn't realize that he's just standing there walking around. Wouldn't it be great if it was just like a Kirk uniform or something he just appeared in? Oh, yeah. Yeah. This is a dark trick. Is this what you brought me here for? You unplugged your world. You can just take me to this white room. We shall make it so. Oh, crap. We're a channel. And that's it. I think that's our minute. Has anyone has anything else to mention about this? I want to start a whole new topic, actually. Oh, yeah? Let's go. Great. No, it was one episode I was listening to.

40:51You guys were talking about the difference between blue screen and green screen. Yes. Why they use it. And I was pretty sure, I once remember someone telling me, there are more shades of green visible to the human eye than there are any other color. So I think that's why green is used. But then you guys made a really good point about digital sensors picking up more shades of green than any other color. But I think it's because there are actually more shades of green in the spectrum, possibly. Probably. But we need to look that up. We need to look that up so we don't neckline it next time. Yeah. We need to look that next time. I just wanted to ask that question. So yeah. Awesome. That's so scary.

41:31Si, is there any way people can find you and see your stuff and things like that? Yeah. You want to plug yourself? Go ahead. Do I want people to find me? That's scary. Yeah. Give them the address, Si, where you are right now. The address. My postcode. My blood type. Yeah. Guys, if you want to, I think the thing I use most really at the minute is Instagram because it's really fun and it's really little effort to put your stuff out there. So Instagram, yeah. Samurai. It's basically Samurai with two I's. Sai-marai. Nice. You like that? Yeah. So yeah. Facebook as well. Keep an eye on what we're doing at the minute. Hopefully, I'll break into this damn feature I'm trying to get off the ground.

42:17And we're also doing Andy Dixon and I, a good friend of mine, actually my partner in crime at the minute. Remember Stephen Dixon? Were you around for, sorry, Stephen Dixon. Stephen Armstrong. Were you around for Stephen Armstrong, Timo? No. He was my first business partner and he fled the country with a woman. It's all good though. They got married. It's all good. Yeah. No, no, no. They moved to the States. Did they Brexit? Brexit. They escaped. But yeah, no, Andy Dixon's my new partner in crime and Andy is a actor, voiceover artist kind of guy. It does sound as well. But him and I, we're writing. You saw the little movie I made, Ghosts? A one minute movie of this guy waking up on the forest floor finding a gun.

43:02Oh yeah. I remember this. He's used to it. Tim, you didn't share this with us? I did not share. You can see it on Instagram. It was a lot of fun. Guys, it was a really good kick in the ass for me. I've been waiting around a long time to make stuff. And one day I thought, can I swear? No, I can't swear. Yes, you can. I swear all the time here. So it's fine. Rubbish to this. Bollocks and a pox. Turn on your English swears. No, I thought, screw this. I'm going to go outside. I'm going to take a prop with me. I'm going to grab my mate. And we're just going to take a smoke grenade and go to the forest and just film stuff. And from that, I got a one minute movie that I really liked, got good reception for. And it's turning into a short film.

43:44So just a little. I know you guys are really proactive anyway. But if you're sitting on your butt waiting for something big to come your way or waiting for that thing, like waiting for that new camera to come or something like that, just go outside with whatever you got and just do something. Because it really kicked my ass. Yeah. I think that is a good message to end this podcast. Yes. Thank you, Sai. Thank you, Sai. That sounds fucking awesome. So you don't feel sorry. Thanks for having me. There you go. And we'll be back. And thank you, dear listener. Yes. For listening. And tuning in to the Matrix Minute. We'll see you next time. We'll see you next time. Bye. See you Wednesday. Bye.

44:24Bye. Oh, you know. Okay, cool. Guys, thank you very much. It was a lot of fun. We're still doing two more, though. Now? Yes.