Minute 40: “We’re inside a computer program?”

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. I'm Phil, and we do the podcast with one minute- Ah, I messed this up. Awesome. Wow, the first time. Great. Yeah, hi. You wanted to do a short version, didn't you? I'm Phil. Just keep going. You wanted to speed up and then messed up. Welcome back. I'm Phil. Gary Oldman was one of the people considered for Morpheus. There you go. There's your tidbit of information today. There's your tidbit. Hello, my name is Jake, and I'm going to stare into space. face again and just, you know. You're a dirty freeloader. Tim, where are you? I'm a dirty freeloader. Ah, flipping burgers. I'm a dirty freeloader. I can't say this. What?

0:41I'm a dirty freeloader as well, like Jake. We have no true. Aha. And with us, once again, is Cy. Kelly, hello. Welcome back. Hi, guys. It's been a whole two days. It's been a whole two days. Monday, now it's Wednesday. I feel like I've been sitting here the whole time. Yeah, feels like nothing has passed. My ears are so sweaty. Mom's spaghetti. Okay. And today is minute 40. So we reached our 40 minute mark. It's great. I think we have 40 more. You suck. With Cy. Today, live. Let's do it. Let's do it. And this is, and yeah, if we just want to take a crack at just going into minute 40 right

1:24now, we'll do that. Yes, Philip. I will say the description again. Please. In the construct, Morpheus continues that they can load clothing, equipment, weapons, training simulations, anything they need. Neo asks if he's in a computer program. Morpheus shows him that his clothes are different. His hair is different. And there are no plugs. It is his residual self-image. Morpheus then asks him what real is. Is it just electrical signals interpreted by your brain? He begins to show him a slideshow on the nearby television. And that's our minute. So I just wanted to start this out by saying the construct, the place that they're in the

2:07big white space, I think it's one of the best ideas that they have in this movie. And I believe that in The Matrix, it's full of great memorable visuals. And this one is also just super wonderful because it's just neutrally lit. It's bright. It's a super amazing, like big contrast to whatever they showed in the real world. And I think that's a really great visual moment that sticks into your head? Sticks to your head. Sticks to your head. I am not ready for this. In your head. Yeah, sticks in your head. Like a little alien.

2:49And I think it's wonderful. I really like the, just that, you know, like the Wachowskis are, they used to be writers for comic books. And when they made this, they definitely had something like that in mind where it's telling a story in pictures. And they definitely had these strong images to accompany what they were trying to tell. And I think that's really wonderful. Yeah. And it's just, sorry. No, I just was so sorry. I interrupted you there. I thought you were finished. This happens a lot. The audience. Yeah, I know. We are kind of always call over voice call. So every time we do this, when it's like,

3:32It takes three seconds to register. It takes so. And I just want to. Sorry. Go on. So we, forgive us. Forgive us for our Ls. Forgive us. We are mere humans of voice calls. Forgive me. But it's too bad that. Let me interrupt. Oh. I just wanted to say that it's, it's, it's, I just wanted to say it's a huge shame that the construct wasn't used in more of the sequels. You know? Or anything else. Like. Well, they had to use like gummy bear Agent Smiths running around. Woo-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba. Because I think it's such a great concept and they really could have gone back to it like in the later, in the later films. Yeah, what do you guys think? Like they could have like a erotic scene between like two people.

4:12They're like going to the construct and look there. Wow. Because it's like very intimate. Amazing, Tim. Amazing. This director's cut. Tim. Tim. Two random strangers. I think it's an erotic scene. No, I don't know. Wouldn't it be great though if they actually, if they went into the construct Neo and Morpheus and there were two other people still in there? It's just. Oh, sorry. Wrong supplement. Did you book this for three to four? Oh, I'm so sorry. I'm sorry. I thought we were three to four. That's so funny because it really looks like, I don't know, like, it really looks like the hyperbolic time chamber in Dragon Ball. Oh, that's true.

4:53Right? That room? Yeah. Yeah. Can I just say that those armchairs are the best armchairs in the world? I think they're so iconic and they're just magnificent. Well, I have some info about those chairs. Oh, yeah. Give us the foe. They were created specifically for the film. What? But only the lions, the little lions, were actually designed from the art department. And then they found two sets of chairs at an antique shop at Sydney. Two sets or one set? Yeah, just like one set of chairs. I'm losing my mind. I need four chairs. Grammar. And, yeah, and they just stuck those lions on there.

5:35Did they weather it themselves? And they, yeah. One's weathered more than the other. They definitely did. Morpheus likes the nicer one. You guys get the shitty chair over there. Yes. The guest always gets the shitty controller. That's because there's been hundreds of Neos. I know. Yes. Brain plastic. Oh, yeah. That's sinister. Sinister. Their minds were blown. It's like, oh, yeah. It's bad. Yeah. I just wanted to, quickly before we let our guests speak, finally. I just wanted to add to that, what you were saying, that it's a perfect visual of, you know, this white room. And technically, if you talk about, you know, like sort of 3D spaces or virtual reality, if you loaded up an empty project, it wouldn't be a white space, usually.

6:18It'd be some grids or something like that. Like visually, it would look different. But I think for the audience who is not aware of this stuff, having this as a visual representation of this as a program and it's completely empty, it's absolutely perfect. And I think even someone who's not sort of like a bit tech savvy, which was, you know, more kind of like the typical viewer back in the day, completely like seeing this would get it. Like, oh, I see. You know, it's that. Yeah. Maybe some people think it's heaven, you know, you know. I don't know. Yeah. That's one of the things that kind of like I felt that might have been. Yes, exactly. That's what I was thinking as well. It's kind of like strange orientations for that.

6:58It's kind of oblivion, isn't it? I'm just looking at it again. You ever see like Futurama or whatever, they destroy the universe? Yeah. They're left with Stephen Hawking and a few other people. And it's a white setting. It's just the idea of there is no time and no space now. It's just oblivion. Because even walking around, Nia's walking around there and I can't even see the floor. You can't even see, are the chairs floating? There's no shadows. There's nothing. There's no light source. There's no. That's cool though. Yeah. That's what's interesting about this set is because it was a huge challenge for the cinematographer, Bill Pope, to shoot this because it's not just plain white, but also because Morpheus's glasses reflect.

7:40Okay. So here's my question. Why are they reflective in one scene and Matt in the next? Cheating. Cheating. Because it's a 360 shot. Pure cheating. Because if you see the first one, he's walking towards the camera. So you don't want to see the camera. And then it flips. So they would kind of reveal it. Yeah, but that's terrible. I don't know. How would they solve it? It's 1999. Today would be easy. Oh yeah. Today would be just CGI the glasses. You, Johnny, After Effects. Go. You're done. Yeah, seriously. But then to switch to the other shot where he's like sort of like at a, you know, like an angle. I always loved his Matt glasses. Imagine if he's Matt the whole movie. But I have to say like, of course, this was, well, I lost it. Never mind.

8:21Sorry. Go on. What did you lose? What's going on? I lost my train of thought. That's what I, I think. They would try to make the effect. I'm so sorry. I'm losing my head. It's okay. It's okay. Guys, just keep talking. Do you think those glasses, the second shot of the glasses that are reflective, do you think they're actually composites? Are they actually glasses? I think so. They look pretty glassy. They look very fake. Yeah. I think part of some of the shots, especially when we go into a close up in the next minute, you will see that you can, there's a little bit of a feeling that you can see that the

9:02glasses were tracked digitally and they actually put something over it. And I think that's where the Matt one comes in because I think that is actually digitally added just so, you know, it doesn't catch the crew and the edge of the set. Like they added edge. Yeah. Yeah. But there was a strong intention for trying to get it all in camera. And they tried as much as they could to get Morpheus's glasses to actually be usable. Yeah. Because if you look at the concept art, usually Morpheus, the reflection of his glasses is usually part of like the framing and the shot. You know, like there's always some, like in the beginning, you know, when he gives him

9:45the red pill and the blue pill, you know, that's part of the whole visual language of that moment. But it does happen, you know, more subtly at places as well. You know, you can see the reaction of someone on Morpheus's glasses, which is cool. It gives him like that Reverend-like character. He's always looking for other people's reactions. Also just want to mention that Morpheus's coat is brown. It's wonderful. It's not purple. I thought it was going to be purple, but then watching it again, it's pretty brown. Yeah, I think it is. That's cool. I wouldn't mind a suit like that. His shoes are dark. They don't match. They look a little bit like, he should have gone with some green. Yeah, Morpheus should have gone with like green, like crocodile skin. Yeah.

10:27His tie is alluding to the codes. Yeah. Oh, true. Yeah, yeah, yeah. Cool. What do you think of this triangular shape he's doing with his hands? Illuminati confirmed. Illuminati. He's saying like, I love you. Sympathizer. This is my lower chakra. Right here. Ah, there you go. Yes, yes. Morpheus always does something with his hands. He always has these poses where it's very like a preacher or, you know, a reverend. I'm giving you these things. Well, he is the religious kind of iconic imagery in the film, isn't he? He is the symbol of faith anyway. Yeah, he's the prophet.

11:08He's the blind faith. Let's talk about these chairs. There's definitely something going on with these chairs. Why is Nia's chair stinking? As they say over here, it's stinking. Well, if they loaded these, did like somebody work on the graphics? Oh, these are the same chairs from the hotel. You know that, right? Oh, they loaded it in the hotel. Yeah, but they made them look this way. They did it on purpose in the program. So why? Someone likes this style. Definitely. They like this dilapidated... Here's my theory, ready? The theory is this. Okay. So the crew of the Nebuchadnezzar, right? They don't want to fool themselves. They want to portray the harshness of reality. They don't want to forget.

11:48Okay. They don't want to forget the real reality, right? Because if they fool themselves with pristine, new, clean chairs, that'll fool them to believe in like, maybe the Matrix was good. But no. They want to stick to this. We want to show this digital rot. Yeah. And so they're basically, no, they're accepting reality and they're accepting truth, which is, in this case, the real world. That's very good. So why is Neo's chair dirtier then? Is it because... Maybe because they're expecting Neo to realize more truth. It's like one of those... Because he's on the pathway to enlightenment. So that means he's realizing the actual state of the world. Basically, they're using crappy salesman tactics, you know? Oh. Lower chair.

12:28Yes, exactly. Like, oh, he has the better chair. I should listen to him because he knows the truth because he has the better chair. Or maybe like, you know... These things actually do help us psychologically. When you, you know, get better, you get a good chair. Once you master Kung Fu, you'll get the top of that. It'd be interesting to see what he sits in later on through the movie or the second or third movies, what kind of chair he's sitting in. Oh, pristine. A stool. Brand new. Yeah. Well, I think the thing is, I always kind of watch films in the way of thinking that there's... I'm completely rambling. What I'm trying to say is, everything on the screen in my head should always have a purpose. Everything should be thought of and shouldn't be there just because you thought, oh, fuck, that'll do. I think filmmakers deliberately did this for a reason.

13:11And I want to know why. Why is... Yeah, that's a good question, actually. Yeah. Well, let's think. And there has to be a reason because this movie is... This was more or less a passion project for the Wachowskis. They had this script that they were working on for a decade. And when they finally had the opportunity to do this, they were very specific and they were very deliberate with many of their choices. And this is definitely something that has to have some kind of symbolic meaning because of the passion that they have for philosophy as well. Yes, exactly. And symbols. I think maybe the only thing I can think of at the moment is that perhaps, you know,

13:51maybe it can symbolize that Neo is not quite ready to go forward with some stuff. I remember he mentions, they'll mention later, like, when is Morpheus going to take Neo to see the Oracle? And he's like, he's not ready. Morpheus is still waiting. Maybe? I don't know. Yeah, because I told you, right? These chairs were from the hotel as well. Same chair. See, that says to me, I think one of you guys said a really good theory there about the, it kind of set me off on one. These two chairs are from the hotel. It's to give him a little bit of grounding because he remembers sitting in these specific chairs. It's kind of saying to him, Neo, don't freak out. Do you remember these chairs? This is a little bit of home, a little bit of what you remembered last time. You guys were alluding to that a second ago when you were talking about not having

14:35everything beautiful and shiny because that's not real. And it's too, remember the whole thing that the architect talks about things being too perfect? Yeah. Yeah. That's a good, that's a good. And humans didn't like it because they didn't accept it. They knew that things couldn't be too perfect and shiny. So maybe it's something to do with that. Yeah. Yeah. I like that. That sounds good. Leavering you in gently. Yeah. Is that table the same one where the glass of water was? Looks like it. I mean, they have like copy paste. Yeah. Where's the remote is? He picks up a remote. You can't see it in the shot, but there's definitely a little table. Yeah. It's in 10 seconds in. You can see it. Yeah. Yeah. Humongous remote. And the thing is that. Oh, wow. I think you're right, Si, because, you know, you kind of have to, this is a shock still.

15:19And they just bring a little bit of peace of his home because, you know, where he lives, the Matrix, it's all kind of grimy and shitty like this. This old technology. So it's like, you know, it gives him that. Or someone really who designed this stuff for Morpheus really loves the style. He's like this art student. And he's like, no, Morpheus, I have to. Can you just copy paste the other chair there? It'll be fine. No, they will not believe it. I will have to put this in the texture on it. But then again, I always have to say the flip side is that I totally agree with you, Si, that filmmakers at their best place everything with purpose in movies. I totally agree. But I also think the flip side is that, you know, sometimes it could just be for aesthetic purposes. Like, it looks cool.

16:00Yeah. Absolutely. Absolutely. The more behind the scenes. We'll never know. Yeah. The funny thing you watch behind the scenes. Your next guest, Wachowski siblings. Yeah. Next guest. Tell us. You watch behind the scenes and it's like always like, oh, and then like, well, so, you know, you think this grand item of there is like, oh, this was designed on purpose and everything. And sometimes it just turns out to be like, okay, so they asked for this thing and we didn't have anything. So the set designer just ran in, like taped three things together, brought it there and oh, it looks cool. It's fine. And it's like the most iconic something of like a piece of film and you're like, oh, it's the set guy that created that in like two seconds. That gives a really good statement that I heard about, not just like it was about editing,

16:43but it was the same kind of group. And this was that the film could easily be more intelligent than the people making it because later on it turns into something that other people perceive. And there's little things that they, that people who made the movie didn't intend, but other people take from it when they watch it and then it becomes something special to them. And that shows like this. And I love that sort of aspect about movie making when, when that happens. Totally. When you're just like a messenger almost, you know, and you're not really, you maybe don't believe in the message. You maybe don't really know the message inside and out, but you pass it on on somebody else, it's just their mind melts, you know, it really speaks to them.

17:24Yeah. Yeah. It's funny, funny enough, actually, just to blow my own trumpet. I made that short film with the gun, the guy called Ghosts. Yeah. Everybody should have watched it by now. Yeah. Because we put it up in the link. Oh, lovely. They know. I passed it on. Thank you guys. I passed it on to a friend of mine. I won't say his name, but he's an ex, ex PMC. I used to be in Iraq and he told me, dude, that is, that is a recurring nightmare of mine. Every single day I have that dream. He had it for like many, many years in Iraq since he's been home. And I realized, shit, I've just channeled something that was completely not mine. Yeah.

18:04For me, that's a huge, like that, that's what I want. That's where I got into filmmaking. I want, I want people to be changed after they see a film. I want people to be, to grow a little bit, to heal a little bit after they see a movie. Um, like it's done so, so much for me in my childhood. And for someone to tell me, dude, that's been a recurring nightmare of mine. It made me feel like, okay, I'm tapping into something. Yeah. And it's just what you're talking about. Like when you're just a messenger of something and somebody else takes it and goes, dude, that changed my life. You know? Absolutely. That's what I love about that. I'm not saying changed his life, but just saying that, yeah, that's what I'd love to have anyway. The wonderful things of art. That's what I love about it. That's what, that's what it's all about. Yeah.

18:44Yeah. So, um, we can just, while we're still on this, uh, no, no, no, wait, while we're still on this, let's just talk a little bit about the context of what they're talking about, because he was talking about, oh yeah, we're just, oh, this, this isn't real. And I think this is the point. Well, this is the point where. Yeah, we completely forgot about the most important part of this is the dialogue. That's how much air is. Wait, I just want to say that this is the point where I think many of us went like, oh, the Matrix is such a cool movie. Cause it's like, that's the, this is the threshold. Yeah. Where it's like, oh, wow. So this is where this buildup came from. You want to know what it is. You want to know what it's about. We're in the real world. And then he comes back in to the virtual world and we're like, we're seeing it in different, in a different perspective. And it's like, whoa, that's what I think it is in this one.

19:26And especially when Morpheus is like, check it out. Look at you. You got some hair, you know, you don't got no plugs on you anymore. You have, you have a nice looking hoodie. I love this. Word for word. Yeah. Exactly. This will be more, you know, this will be less reverent. Look at you. Morpheus. But a good friend, Morpheus. Look at you. We fixed you up. You don't look like a freak anymore. Yeah. This is the Matrix, man. I hooked you up, homie. Yeah. Yeah. Exactly. But it's, it's funny, but he drops a couple of interesting terms that are very unique just to this movie, like the residual self image. Yeah. And it's digital projection.

20:07Wait, wait, wait. What was it? The mental projection of your digital self. The first one I get, the second one, I'm not sure. The digital projection. No, wait. The mental. The mental projection of your digital self. No, no. So what's happening is. Wouldn't it be the other way around? Because. The digital projection of your mental self. Right. Because what you think of yourself. That's the digital projection into the Matrix. No? No. Because like. Oh, I see what you're saying. Yeah. I don't know. What does he say actually? Because we. Wait, let me, let me hear what does he say. He says it's, it's the mental projection of your digital self. Yeah. Okay. Yeah. The whole thing is this. When you're in the Matrix, you're perceiving things mentally. Yes. Right? So. Yeah. Your digital self is basically.

20:49You. You. Oh, okay. In this case, it'd be like an avatar in a way. Yeah. Okay. I see. You're simply perceiving it mentally. That's how. I always thought of it completely different. I thought he wasn't explaining. Okay. You see your digital self. I always thought he's telling him the fact that you have hair and you don't have holes. This is how you always imagine yourself. Like, you know, in dreams. That's the way I was talking to. Yeah. Yeah. Like you always like you have this perceived and then you see yourself in the photos in the mirror and you're like, what the hell is this? This is not what I think I look like when, you know, you picked yourself from like a third perspective. So then basically everyone in the Matrix would look better? Yes. Or in the construct? Yes. Like, like, that's like what you think of yourself.

21:30Not necessarily. But if they've got different. Low self-esteem. Yeah. Right. Right. Yeah. That's what I always thought he was talking about. But what you're saying makes complete sense. You thought this as well as Cy when you saw it. Say again? Before. You also thought what Tim was talking about. Yeah. Totally. I thought it was to do with how he perceived. Because there's the difference between how you experience yourself and how you perceive yourself. Yeah. Yeah. He would. Yeah. That's a good point. We thought it was like philosophical, but it's just like technical. He's like, don't worry. It's just. Yeah. That's interesting. So how did you guys take that? It's just his avatar in the digital world. That's about it. I took Morpheus very much at his word. Which meant what?

22:11What did you guys feel that meant? Well, it just meant that basically it's a replica of your actual self. It's a representation of your actual self from the real world in the digital world as close as it can be. Yeah. It's just. Yeah. It's as real as the real world, but it's like it's just two different platforms. Yeah. It's two different platforms. I mean. Here's a mind bomb then. Um, he's never seen himself until he was unplugged. Right. And he never had hair. Yeah. And he had plugs in his body. Mm hmm. So who taught him that he looked that he looked differently? First of all. Yeah. I think that's what we're saying is that that what they do is just they just like took the when they maybe they like copy pasted like his image from the matrix and put it

22:54here. Yeah. I think it's the most recent image from the matrix that kind of pasted. Yeah. And it's like, oh, okay. So, you know, this is you're feeling reality, but it's just digital. I think that's what that sentence meant. But I agree. To us completely. What about the very beginning when he was still in the matrix and he looked in the mirror and saw himself the way he did? No. Who gave him that image of himself? That is true. That is true. Like the machines decide like they have algorithm. Like. Well, I think what the machines would do is probably. It was just natural. I guess. Like your hair grows in the matrix. Some scans of like basic. Yeah. And I think they would just basically estimate. But if they have some, you know, good physical scans of people, right? The bodies. Then the machines could obviously then transplant that into digital.

23:36Well, I think all the genetic data is. There you go. Because, you know, the people that are born in the pods are half human, like mostly human. And they have this electronic system in there to be able to plug into the matrix. Aha. They have like. The holes and the plugs and everything. So you're saying that there's a little bit of cyborg? Yes. Yeah. There's a little bit of cyborg stuff there. Huh. Why wouldn't it? That makes sense. That makes sense. Especially the port with the brain. Like where the thing plugs into the brain. It's not going into the brain. There's like a hole. Yeah. Like a hole in there. No way. In there with a little system. No way. Some kind of biotechnological nonsense. So you tell me that no human in this movie is actually a human as we know it from our

24:19century. They're actually some weird kind of. Some percentage cyborg. Yeah. Yeah. Because when Tank shows up later on. They're augmented. Yeah. They're augmented humans. Wow. So they're not just born as normal babies and then all these things attached to them that grow with them. Yeah. Yeah. Oh yeah. I thought that these things get attached with them when they're born. When they're born. Yeah. So basically we can say there's some minimal modifications to be able to. For them to be plugged in. Yes. They're minor. Yeah. Very systematic. It's not like they have like, you know, a metal endoskeleton or anything, but you know. It's just like super powerful. Okay. Yeah. That makes sense then. That's quite cool. Actually. I like that. Because I mean, if you're, if you're a baby and you had implants and you're growing up for,

24:59you know, 50 years, your body would kind of. Reject it. Well, it would react to it in a way either, you know, to include it or to reject it or, you know. Then again, it would change. Plugs on a baby. That, that, that's a long needle. Like, wouldn't they have to like, you know, change the sizes every time? We're going to have to, we're going to have to inspect that baby later on in the next minutes. So. They do maintenance regular, you know, quarterly checkups and things like that. Oh, this one's a grower. Look, it's only five months. Yep. Change the screws on him. Oh boy. I'm plugging. They'd have to do that, wouldn't they? Um, one more thing about this. I think they need to upgrade like their system instead of the stupid plug in the back of your neck. They should have like some scanners.

25:41Okay. Mr. Architect. How about you go over there? A USB socket would be great, wouldn't it? Set it straight. Yeah. Yeah. Move to a standard. I'm sorry. Reversible. Thunderbolt port would have been less painful. No, I'm talking like wireless. I'm talking to wireless like brain. No, wireless is crap. It never works. You're disconnecting and walking into walls. They won't believe it. It's like, oh no. That's a good point. Getting low resolution again of my cereal. That's a good point. Why are my fingers all, oh yeah. Ah, yeah. Awesome. So yeah, there's the other thing that's just a brain in a vat. This is the whole brain in a vat thing. Brain in a vat. Like you said, Psy. Brain in a vat. Yep. That's all I'm going to say. Brain in a vat. Brain in a vat. That's pretty much it. And that seems like it's mostly all that we can talk about in this minute.

26:24There's just one more thing we have to get to and that's the 1996 script because there's some crazy stuff in there. Sweet. Cue the jingle. Cue the jingle. All right. Awesome. Okay, so. And I'm going to read a little. This is the portion where I look at the 1996 script and just read a little bit from it. There's a bit of a difference. Yeah, we have a copy of a 1996 script. It's an early draft of the movie and some things are quite different from what the actual, you know. Obviously written by the Wachowskis. Yeah. In 1996. Some bootleg stuff. Yeah. So when he's in the construct, Morpheus says, you know, this is the construct. It's our loading program. We can load anything from clothes to weapons to training simulations.

27:04Anything we need. Same thing. But then Morpheus asks him to sit down and then Neo goes, right now we're inside a computer program. And Morpheus goes, wild, isn't it? Yeah. And Neo goes, this isn't real? And he says the exact same thing as he does in the film. So that was never changed. But then he goes, because he starts looking at the TV and he starts showing, this is the world that you knew, Neo. And in our minute that we watched just now, he shows him the television screen. But in this one, the television screen is a large screen television. So yes, it is. It's like a high tech television. So they changed it in the final version where it's a nice compact, small one.

27:51And he presses the button and we drift through the Windy City. Oh. Circa 1996. And Morpheus says, this is the Chicago you know. Chicago as it was at the end of the 20th century. This Chicago exists only as part of a neural interactive simulation that we call the Matrix. Chicago. Did I mention Chicago? The new title of the movie, Matrix. Chicago. Chicago. And that's all we can say about this minute. That was kind of funny. Yeah. Cy. Well. Yes. Cy, thank you for being on our show. You are. You're an awesome guest.

28:31I'm having a lot of fun. I'm enjoying this. We'll try to shut up next time more. Yeah. No, it's just fun listening to you guys and being a passenger on this crazy train. It's crazy, crazy, crazy passengers on this crazy train. What do I usually say? Do I usually say go? Oh, yeah. Listener. Thank you for listening. Go, listener. Go away. Go for it. I am getting tired. I'm sorry. Go for it. Yeah. Just ask at the matrixminute.one. Facebook. You can find us on the matrixminute.one. Go for all these guys. Beautiful places. And go see Cy's Instagram. Thank you, Cy, for the endorsement. We appreciate it. Thank you. Yeah, we do.

29:12Oh, yeah. Also, we have, we talked about this before and we are getting more, we have a little, what's that word? Survey we have. Yes, we do. For our podcast. And we got some more people chiming in and voicing their opinions. And that is awesome. Yeah, thank you for the latest survey. Thanks. Enterers. Yeah. We appreciate your feedback and we'll try to incorporate all your ideas. Just that you plop in there, you know? What were some of the ideas? Well, don't talk so much. Yeah. Don't talk over each other. That's true. There was one that was like, just like, don't talk over each other. It's really difficult. You guys are in different countries. All four of us are in different countries, aren't we? That's so true.

29:52Yeah. Holy crap. Was that a secret? Should I have told that? No, no, no. It's fine. They know. They know. We couldn't fake it. One of the ideas someone wrote in for the survey. We're on our own virtual construct, isn't it? Should we reveal this? Because the surveys were anonymous. Let's leave that. We can't say who said it. We can say what they said. That's true. Yeah. We can't say what they said. It was more of the 96 script. Yeah. So we're glad to do more of that because it's fun. I think all of us want to find out what happened. We'll bring something. Chicago, Chicago, Chicago. Yeah. There was a point last week where there's a scene where Neo is like, you know, on the bed. And he's like, oh, why are my eyes hurt?

30:34And Morpheus says, because you never used them. You never used them before. And in 1996 script, he has glasses on Morpheus in the real world, takes his glasses and puts them on Neo. Oh. So there's some great gems in this script. And we're going to use it to death. We're going to mine that script. All right. Thank you, Sime, once again. Thank you very much, guys. Much appreciated. And we will catch everyone on the next episode. On the previous lap. Goodbye. Bye. Bye.

31:14Thank you.