Minute 6: “Get up Trinity. Get. Up.”

Transcript

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

0:00The Matrix Minute, a podcast where we discuss the first film one minute at a time because I just love this film. Hi, I'm Phil and Neo's glasses are so round. Hello, I'm Jake and Carrie-Anne Moss is actually Canadian. Hi, I'm Tim and I'm not Canadian. Oh, hi, Tim. How are you? Oh, hi. Nice doggy. Well, this is minute number six. Hello, everyone. Welcome. This is minute number six. Trinity escapes the agents. She runs across the roof with Brown close by. She sees a small window on the building across, makes a crazy jump into the small opening and crashes through and tumbles down the stairs. Guns point behind her.

0:41After a beat of terror, she nervously gets up and runs down to the street, sees a phone booth. Suddenly, a garbage truck wheels past and steers towards that direction. It's a race to the finish. She makes it to the phone booth as the truck charges into her. The minute ends as the garbage truck plunges through a brick wall, smashing the phone booth. And thus is minute six of the Matrix. That was a jam-packed minute, I have to say. It's a minute. It was a good one. I just wanted to say this is a really good sequence. I enjoy this whole thing. And it was one of my favorites from the movie, definitely. It also gives a lot of information on what you're going, like how you should feel with the different characters that are being shown in this minute. What do you mean? Expound on that.

1:21In the future. For example, Trinity, she's scared. We know she's really super powerful, but she's still terrified. And the agents, they're also something else. They're not like the cops. They're also something different. So this raises some more questions. What is this? Right? And also, great shot of the agent's profile near the beginning of this minute, where you just see the profile of Agent Brown just looking like that. It's stuff like that that just, that's the sort of stuff that I just got imprinted in my mind when I was a kid. And later on, I would always imitate shots like that, and it would be subconscious as well. So it's always fun when you get to see these subconscious influences that happens. So when she makes that jump into the small window in the neighboring building, what do you

2:04think? What do you think of that effect shot there? Oh, first I want to talk. That was not one of the best ones, but. Well, the little spinny thing through space and light and everything, that doesn't good. But that doesn't good. What a great sentence that is. That doesn't good. But I wanted to say. That doesn't good. That doesn't good. I was, funny thing I remembered now, thinking back, I was always pondering, why this, like, in the logic of Trinity, why did she go through that little tiny window? Like, well, I know the logic, I can tell you. Because if she goes through the tiny window, it's going to be a harder time for them to get to her. That's good thinking. You are always a strategist. Ah, well done, Jacob.

2:45You would definitely have to do this. I just, like, it was funny. It was like. I just thought it was there for, just to make a more exciting scene where people go, wow, she's going through a little window. She's thinking. Trinity's thinking. I always said, like, when she falls down the stairs and he goes, oh, the whole thing, Trinity, get up, get up. Oh, man. I have, I wanted to tell you about that. I remember when I was watching that for the first time as a kid, that was a classic moment where you think someone's going to either not pop out of the window, but something's going to happen after that beat. Yeah. But I really enjoy that they didn't do that. Yeah. Like, after the jump, right? I was going to talk about the effects shot. Like, that didn't hold up too well.

3:25Let's go back to the effects shot. I mean, I guess it was cool at the time because it had a different style that you aren't normally used to with movies of such caliber. You know, like, where the camera's spinning around with, or is it going counterclockwise? I don't know. Was that on purpose or no? To get some kind of visual differentiation. It's like an anime kind of thing. Yeah. Almost. It does look a bit strange. I think it could have been just easily without the whole long, like, flying through space. If it was just cut, like, she jumps and then you fall through the window. So, I mean, it worked well, I guess it was like, is it an anime thing? Like, do you have, like, these long 360s? Or what, a 180? Maybe not, but it's just, like, that kind of style. That kind of, like, elongated, you know, someone's, like, an object is standing still

4:08while the background is moving. Like, blurry background. Like, flick the little, like, animated little lines. Like, whizzing by. Exactly. The compositing didn't really result in something as good as other shots. But anyway, that one moment, you know, one of my favorite moments, and Tim's as well, and yours as well, is, like, where she just tumbles down the stairs and then, you know, guns are wide open and she's pointing and looking at the broken window and the lamp is swaying, right? And it's, like, this little tiny beat of looking at the dark open window. There's a little silence. And she's just holding those guns open and she's just like, Get up, Trinity. Get up. And, like, she's really scared and this makes you empathize and sympathize with this character.

4:50So, she is one of the protagonists. So, now you know. Now it's established. You're with her in the moment. Yeah. Yeah. But this is information for when you're starting this film to know that this is one of the characters that you're going to be following instead of the cops. So, would you say then here we have proof positive that Trinity's now a good guy? Especially when she's a little bit bruised and scarred as well. So, it's like, true, yeah. I just wanted to note that a good sign of good editing and pacing is that the movie doesn't basically make sense as far as the action. Like, let's say she's falling down, right? And she's down there pointing guns at the window. You have the little quiet scene we just described. And then she gets up and the next shot is she's already on the street. But the funny thing is I've never noticed that unless, until we're watching this right

5:32now, you know, that's sort of these cuts of the action that are not necessarily time-wise realistic, but you never notice that because that's great pacing editing, just like the action keeps going. And your mind just fills in the blanks. Essentially. Like, you don't see every shot. Like, I think when we were doing movies and stuff like that, we're always so, like, being careful, like, have coverage of every single movement, whatever happens. And you just end up with these long sequences of people walking places because you're like, well, how did they get from point A to point B without changing the scene? This is like a good example where it's just like, I never noticed that. You know? Yeah. Yeah. Definitely. And, you know, it's different in the script.

6:14In the script, Trinity already, after this whole little stunt that she did, she's actually starting to limp and she's limping away and she's, like, really wounded in the script. So, when she finds the phone booth, you know, down in the street, she'd be like, you know, like, holding one leg up. Yeah. If that was the case, she wouldn't be able to do the awesome role. I know. I think it's good that they changed it. I think the thing about movie making and making something like this in general is that when you start with drafts, you go into lots of detail. So, what we did when we did our small films is we didn't refurbish anything. We just started with our little draft and we didn't strip down to the essentials and then

6:54go back and just give it flourishes, which is what a finished product should have, like this. You know what I mean? Yeah. So, that shows a big difference with that. So, anyway, she goes down, sees the phone booth. What do you think about that? Because as a new coming audience, like someone who doesn't have any idea, what is the point of going to answer the phone? I always watch them. You're right. I always watch. If I watch Matrix with someone who hasn't seen it, this is one of the scenes where I look at their reaction, especially as the truck is coming in and it crashes the whole thing, just to see what are they thinking. Like, oh wait, so this is like, just like a, you know, what were those calls? Like a false beginning or one of those things? Yeah, I guess so. Like, why does the character, is she not important? Or what's happening?

7:35Just like, what's going on? I love to see the reaction. I think it's just interesting that once you watch a movie so many times, it's all a given. It's a given that she goes to the phone with. It's a given she's going to disappear. It's a given that the truck runs over. And then watching, you know, you have to now relearn like we're trying to do and remember what it was like watching for the first time. Totally. I also love how the truck is so aggressive. It's so scary when the truck stops and then makes a turn, you know, and she's like, Well, I remember it was just really terrifying. And you still have no idea. But I think you do know that Trinity has to get away somehow. And I think it does click that when she gets in the phone booth, I don't know. I can't, do you guys remember? I don't really ever think that she was actually killed watching the first time.

8:17I felt like. I can't remember. I don't know either. It's been a long time ago. I might have been like, well, I mean, like logically she gets killed, but I have to agree with Phil. It's kind of funny that whoever is it, Smith or Brown who drives the truck just goes and gets a truck. Like, here's what I'm thinking. So while this is happening, is agents, was Agent Smith driving the truck? Yeah, it was later on. You see. Is Smith like, does he put code into the matrix? So one of these trucks disappears or does he go looking for it? Like, there's a truck somewhere here. No, I think, I think there was a truck driver in the, in the truck and he just melded himself. Morphed in. Yeah. Morphed in. Oh, he just morphed into the guy picking up the garbage in the morning. Yep.

8:57Cause he's the nearest thing there. Garbage day. Garbage day. And also it's just, and also again, it's so weird that the truck just smashes into the phone booth. Why is it so weird? Like no one does that. Like, you still don't know it's an agent. So, well, what you do know is that someone is aggressively after Trinity. And it's scary. And it's great. And they want to completely annihilate her. And that great shot of Trinity holding the phone and then putting her hand on the windshield. By the way, we don't see in this scene any effect of the disappearing. No, you definitely don't. That's on purpose. Cause you know, it's meant to be that. I mean, it's like, it's a magic trick, you know. So anyway, um, one of the most prominent characters that we just got to establish was not just Trinity, but it was also Agent Brown.

9:38And, uh, let's just talk about. Let's see where Agent Brown is in the scene. He just pops in. This whole scene, the beginning, he was the one chasing Trinity most of the time throughout No, no. these minutes. And I just want to say that the actor, his name is Paul Goddard and he's an Australian actor. Shout out to Paul. Shout out to Paul. The Australian. Paul the Australian. He's an Australian actor from New South Wales. And he's been in other roles such as a TV series called the lost world. And unfortunately it's not the one we watched with, um, who's the Bob Hoskins. It's not that one, but it was an earlier one in 1995. And coincidentally, John Noble was also in that one. Who's John Noble? Oh, he was Denethor in Lord of the Rings. He's also an Australian actor. And you're going to see a lot of Australian people in the same Australian productions a

10:21lot. Cause lost world was another Australian production. He was also in babe, which, and he, he played Hoggett's son-in-law. Farmer Hoggett. Are you telling me Matric was produced in Australia, Philip? Well, yeah. Most of it was done in Sydney. Oh. For cost-effective reasons. Oh. Yes. And, um. Oh. So he's the guy, he's the guy who played the son-in-law. If, I haven't seen that movie in a long time, but he's the one who's, who was like, oh, it's a, it's a, you know, it's a, it's a pig that thinks it's a dog. And also guess what? Hugo Weaving was also in babe. Remember? He played Rex the dog. Yeah. Oh, Doug. The wolf. I'm sorry. You morons. I remember that. I remember that, you know, Hugh Jackman wasn't in the matrix.

11:02Oh, he could have been. He could have been. Hugh Jackman, yes. He wasn't busy doing Oklahoma. Well, who would you cast in the first matrix, Hugh Jackman? Uh, you know. He should be the guy who asks Neo for the, for the, for the discs. Yes. Hey, Rollo. Hey, Rollo. You got the disc, Rollo. I got the disc, Rollo. And, uh, he also, he also was in, he's probably best known for being a character in Farscape, which is a sci-fi TV show. Yeah, I'm not familiar with that. Also Australian, where he plays a character called. Is he doing any new movies? He's selecting. He is. But, uh, not as much as he's. Could we say that this role is maybe his most well-known role? It is. It is.

11:42Who? Paul Goddard. Paul. Paul Goddard. Why? Hi. Paul the Australian. This is Agent Brown. That's his nickname. Okay. Paul the Australian. Paul the Australian. Welcome. Agent Brown. Okay. So what else can we say about this? That's all I have. I want to say something that, um, you know, we've seen Trinity do crazy stuns at the beginning. She's like superwoman. And what Phil, uh, added is that, you know, we get to see her panic. She's on the floor and she's like, get up Trinity, get in trouble. And then we see the blood. Get up. It's, you know, it gets you concerned as a person. Absolutely. You thought she was invincible. But, uh, even these, these, these agents. No sir. The agents, these suits, these, these office workers, these FBI agents are like, they hurt. They hurt. Fire hurts me.

12:23Cool. And we end the minute, at least in our case, with Agent Smith putting his foot down. We don't know that. It reminds me of Terminator 2 a lot. Any of the agents. Except being out of the truck. There's a lot of foot coming out of the truck in the Matrix. We know it's Smith. Yeah, but it reminds me of Terminator. Yeah, you're right. Tim's right. There's a lot of feet coming out of the car. Feet coming out of cars. That's the best. Terminator. Most recently, John Wick 2, I think, was. Oh, yeah, yeah. Was there a lot of feet coming out? Yeah, there was. Yeah, John Wick 2 definitely. Plethora of feet. And that about is Minute 6. So, hey, that about is. We'll catch you on the next episode. I'm Jake. I'm Tim. You can follow us on Twitter and stuff.

13:03See you in the next episode. Good stuff. Jake Dragic, Tim, and Phil, man. And Phil. Phil. Bye. Ladies and