Minute 91: “…marveled at its beauty, its genius?”

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. This is what Tim sounded like on Monday. Let's see how he sounds like today. Is this John Petrucci? Yeah, I sometimes switch to 10 billion kills a second, but I keep it low. I keep it low at 1 billion. Big fan, big fan of the songs, John. I like the ones when there's no singing. It's just 10 minute like, you know, just showing off stuff. Solo extravaganza. Yeah, it's normal for me. I tend to just, that's my regular practice, what you hear in the songs. It's good stuff. I like the beard. Yeah, we have a new album coming out. I actually wrote 200 minutes of music, but we're going to slice it down to 60.

0:45Just to keep it nice and for the audience. Looking forward. Any sort of vitriol? I used to write like 800 and 900 minutes for the albums, mostly soloing. The other bandmates weren't happy about that. Oh, is that why Mike left? They said, no, no, I like the solos. Is that why Mike left? He was like too much solo? Yeah, Mike was always drum, drum solo. I said, no, no, guitar solo. It's great to have a guest on. Yeah. So you guys talk about The Matrix. Yeah. Why didn't any of the solos? You know, I had to take a break from practicing to watch the movie. And it was actually, it actually detrimented some of my abilities at that period.

1:28I used to be able to play like, you know, I mentioned 10 billion notes. And when I watched The Matrix, I had to come back and then I could only play, you know, a lot of notes less than that. It wasn't good for my performance abilities. But yeah, I watched it. It was good. Yeah. It's with the main characters named Neil, I think. Yeah, that's right. Neil. Isn't he a guitarist? Irish. He's a bassist. Yep. He is a bassist, actually. I don't like bass. I like guitar. I know, I know. Hi, guys. Welcome. This is Minute 91. So let's see. Tim, I mean, you sound good. You sound better, Tim. That's good. I sound better, Tim.

2:08I'm glad to hear you. How are you guys doing? How are you guys doing? All right. All right. Not too bad. I'm getting ready to watch this Matrix extravaganza. I'm okay. Wow. We're straight back to the point. Our Matrix trailers are coming in. We're going to promo that. Do you know what I was thinking? We should have a Matrix Minute one time, just me and Tim, and it'll be nothing to do with the Matrix. That's it. Because I was thinking, like, I noticed, like, Phil usually reels everyone back in. I always do. Yeah, yeah. And I think if Phil wasn't here, I think it would be an hour and a half of not Matrix material. I have to say, guys, because that Enneagram test, and I know now who I am, more or less, now I can realize that the reason why I really people in is because I'm thinking people are wanting to listen to the Matrix. Exactly. And me and Tim are not thinking about that.

2:48No, no. Me and Tim are thinking, oh, yeah, what are you talking about? Let me add my points. Yeah. Let me take, I think we would start off at the Matrix, and then, like, two minutes in, we would think of something else. We would just never return. Just never. We would say, like, what would happen is, like, we would think about, like, the last time we watched the Matrix, and then where we watched it, and then from then on, we'd be like, oh, yeah, that place. Remember there was the cafe over there that had that great bacon? You know what? How is bacon made? Let's think about, let's research how bacon is made. And then, like, after three hours, we'll be just like, oh, you know, thank you for listening to Phil and Jake's conversation, and just forget which podcast we're on. That's right. But anyway, we're on Minute 91. Wait, can I reel everyone back? Can I reel you guys in?

3:29I never get to reel anyone in. So anyway, guys, the minute. Let's come back to the minute. Yes, let's. Great reeling. Let's talk about the minute now. You've done that with such grace. I know. Okay. Well, I never mind. I talked about this on another podcast. Forget it. What? Just my opinion about segues. I think that this is the problem. You know, I think that in culture and in a language, there is a problem, I think. And one of these problems is that things that should not be of our concern become our concern because they collectively end up being shunned upon just because of certain instances that

4:10they happen. For instance, people... Not puns. But people always, always, always trash talk bad segues. And it gets so much on my nerves because who cares? A podcast is basically just a series of different discussions, right? Especially the hodgepodge podcast, like where you're not talking about a specific topic. Yeah. So why would we isolate segues and always say, oh, what a wonderful segway, Joey. What a wonderful segway. It's like... True, true. You're wasting time commenting on the segway, which we know we're going to get into another topic and people are happy to get in the next topic. So why don't we just do this? It's a silence. So we know the conversation has come to its natural end and say, so motorcycles.

4:53I love motorcycles. Tell me why you like motorcycles. Why not? We're here to talk about all kinds of stuff. So that's my little speech. Yeah. Why point to a segway that's good? You know, a good segway is that you don't notice it. But that's true. But I'm saying also bad segways, why point those guys out either? What do they do wrong? I think it's just a principle of showmanship. But the thing is you are meta. You are commenting on the showmanship on the podcast. Yeah. Yeah. Okay. So basically what you've done is you made it worse. Now you're talking about the segway and you're narrating your own show and you're wasting time. And it's not funny. It's not interesting. Yeah. There's such a bad, you know, a segway that you have to go, whoo, what the hell was that?

5:38You know, sometimes, sometimes. But I think that a man must. If you've already established that what your podcast is like and the conversation tends to go into different directions, who's making up the criteria of what's too out there? Yerbam. Yerbam. Who hurts you, Jacob? The segway man. On a man on a segway came. Because I've noticed you for years listening to podcasts. The bear on the segway, remember? In 2012 at the park. But I've realized that this extends to more than just segways. There's certain conventions and language people don't like. And they've just come to, they don't even know why they don't like it. They just don't like it. And they trash talk it. I want to bring those back. I want to bring all those things back. And we use them normally. Okay. Okay. Let's do it.

6:18Some people just want to relate and always go to the popular things. Some men just want to watch the world. When I say that was groovy, we should all go, yeah, that was groovy. Groovy. Yeah. Or groove away. Cool beans. Yeah. Those are cool beans. I love those cool beans. And they're like, what are you, from 1972? Ha ha. Let me laugh about that. Ha ha. I don't know. He's a cool cat. You know what I mean? Exactly. And that's why I appreciate people who take older language more seriously. Exactly. Because the thing is that these are all relative constructs anyway. They're all relative. Even newer language, new slang. Exactly. Don't be like hating young people saying that. Yes. You're an idiot. Language always changes. Exactly. Grammar changes. And it's relative. We should embrace it if it describes what we're trying to describe accurately and better.

7:01Don't be a Nazi about this. That's how languages evolve. They take words from other languages. They make up new words. It's okay. Absolutely. It doesn't matter. That's what I'm saying. I know you're angry about your job, but be angry about your job. Don't be angry at people. Yeah. Don't be angry about them. They're just having a good time. Exactly. Yeah. And plus, I think at the end of the day, we would save a lot of trouble because we wouldn't be commentating on the state of language, but we would be actually communicating more. Yeah. I mean, honestly, like I said, like, you know, the joke about the job, I think people are just frustrated with different things and they just vent on other. So you think it's just like an outlet and they pick something.

7:41Who can be angry at something like, oh, that's not a proper word. Are you crazy? I don't believe anyone's actually angry at that. It's just like, that's a venting system. They know they can go out. I think some people, man, because some people have ideas in their heads, like some people build constructs of language where they believe that there's a set box within where language is placed and they construct these outlines themselves or they might reference like a certain, they might say like, oh, the law is this is the language, right? Right. Yeah. But that's, to me, that's horrible. That's a horrible way to look at it because language is organic and it changes, like you said to him and if we box language in, what are we doing? Because no one, think about this, no one sits around thinking like, oh, what new words can

8:26you come up with? No. We use words. We don't live in car poking to the world where people sit and think of things. Exactly. What you do is you use a word or make up a word to better your needs. It's a utility, right? Yeah. Like think about the word fader on a mixer. That word is probably invented by someone like, I need to fade it up and now. What does it do? It's a fader. Right. Yeah. Yeah. Probably even very, you know, like organically. It was just like, oh, you hit the fader, you know? And what a great contribution, the guy who made that up. Because now we all use fader and we can better understand each other while making music. But no one sits around going, what topic should we pick? Music? Okay. What are those little knobs? What should we name that? And then we vote on it. To be honest, there are people like that, like in the sort of science of language and especially

9:10like for the countries where we grew up. Yes. Like in Czech Republic and Croatia. It's horrible. Like it's a political thing. Yes. So they really want to, like if there's language, it's very close. Well, no, because the problem is they conflate language with identity and nationality. Yes, yes, yes. And that becomes a mess because then you start like. So then they make up really ridiculous words and it's just like they're very not. And they just claim it and say, this is original. Yeah. Or just to show like difference. Yeah, yeah. But that's stupid. Language is not used that way. Anyway. Tribalism. Welcome to the Matrix for a minute. Welcome. Phil gave up. He started laughing. Then he sighed. Sorry. He's quiet now. I was listening. I was listening. I just had to like Tim was talking about the job thing. I just had to let this out because we're so, we're much more formal on this podcast that

9:55and we're close to the end. So this was bound to happen. We have 47 episodes after this one. 47? No, you said 40 last time. Okay, then it's 40. Why are these growing? Because you're making the Matrix longer. It depends on how many credits we want to. We're not doing credits. Oh, okay. Then we have 40. No, there's no point. That's fine. We do want credits. So every 10 episodes, we'll have an episode like this, which has nothing to do with the Matrix. Yeah. But it's okay. It's just the intro. We'll talk about what happens in a minute. Don't worry. And besides, we'll always have a little, you know, little timestamp underneath on the file. Yeah, yeah. We should do that. That's good. Yeah. On the website, you know, that's. Yeah. Yeah. Anyway. Sorry about that, people. Sorry. It's okay. Sorry about what? Don't apologize. Remember what we said?

10:35Matrix, we don't apologize anymore. That's true. No, I'll take it back. Fuck you. No, no, no. Oh, oh, oh, oh, oh. Perfect. Thank you. What? Listener of the show, Danny, kindly sent in an amazing, amazing clip from the Matrix from the TV, the US TV broadcast. Oh, I did not see this. With new hits like where Cypher, you know, jumps on top of Morpheus, right? Do you know what the new phrase is? What is it? Surprise, Einstein. Oh, that's a good one. Give us a good one. If you would have told us the truth, we would have told you to stick that red pill right

11:15up your ear. Oh, what? Yeah. But I wonder if it's... That's so anticlimactic. I wonder if it's rear, like he's so proper. I don't know. Oh, rear, rear? Because you want, like, we would have told you to stick that red pill right up your rear. Yeah, so I don't know. It's ambiguous. Maybe it's a double meaning, you know? And another great one from that was, you know, about the tanks. Believe it or not, you piece of slime, you're still gonna burn. Wow. And the take is different, so it's not as passionate as it was at the original. Oh, oh, oh. So it's actual take recorded with, like, the alternative line, right? Yeah, yeah. They, I think they just all do that. I don't think so. No, no, no, no, no. Not the video. Oh, the audio.

11:56Oh, okay. Okay. The audio. Okay. So can you imagine, so no one talks about this, but the actors do have to do ADR for the TV versions. But they do ADR anyway, so. Yeah, that's what they do. I think they do it in those sessions. Like, I think they say, oh, we have the studio, or, you know, the requirements are. Surprise, Einstein! Do you think they'll do, like, they have, like, a couple of ideas and they try them out? You know, surprise, Einstein, surprise. That's a good idea, man. Surprise, Newton. Surprise. Well, because, yeah, they do. Hawks do. Surprise, Leibniz. Leibniz. Surprise. I don't know, but I have to say they're actually really clever. I don't know who, it's really well, like, coming up with those.

12:37That's, because I would come up with the worst ones. It's probably the writer, I would say. The writer has to do it. I don't think they can change it. No, can they change it? What do you mean, the writer? The writer of the movie. The writer of the script. No, no, I doubt it. You think the Wachowskis are sitting around going, what should we put into the script? Oh, did they write it as well? I guess. No, I think. I think they have experts. That's the PG experts. I'm serious. Like, there are probably a couple people, or one guy at least, who just goes through movies, and he probably has a whole book of alternatives. Oh, yeah. I need to reiterate the best one, the best sense here. I've had it with these monkey fighting snakes on my Monday to Friday plane. That's brilliant, if you think about it. It's so good. Who would think of that?

13:18Monday to Friday plane. It's true. The plane could be flying Monday. And they're monkey fighting snakes. Monkey fighting snakes. Like, they're so aggressive that they're like, monkey fighting snakes. Welcome to Minute 91. Okay, tell us the description. Yeah, what happens in Minute 91? Trinity looks at Tank's brutal flesh wound. Tank assures her that he'll be all right. It's just a flesh wound. But the news that Dozer is dead is in Tank's expression. We cut to the Matrix and the headquarters of the agents. In the office, there is Smith looking at the vista of the city. He is talking to Morpheus, who is strapped into a chair. There are a lot of painful-looking tools on the table. And Smith says, Did you know that the first Matrix was designed to be a perfect human world where none suffered?

14:03Where everyone would be happy. And that's where our minute ends. Ready? A lot of stuff. A lot of stuff. Ready? Yeah. Play. Play. He lied. She kisses the wound. How awful would that be? Trinity, what happened to your face? Oh. Bloody. There we go. Finally, we're out of that. Oh, look at that. Look at that shit. I'm so glad we're done with Sight. Third act. Third act. I love this music now. The music kicks in, really. Ba-ba-ba-ba-ba-ba-ba-ba-ba-ba. Mul-fa. Sounds like a manly vagina.

14:45Mul-fa. Transgender. Mul-fa. Living out their lives. Nothing's gonna happen in this minute. What do you mean? He's talking about the first Matrix. Oh, look at this. Oh, yeah, you're right. Oh, I have a thing. I have a thing. Little world. It was designed. Designed. Wow, this is pretty much kicking off. Oh, I was like, what the hell is Trinity doing again? I had it on loop. Just a loop of hugging.

15:25Anyway, this is almost nearing the third act, but this is the stage. We're at the building, the agent government building. We get a glimpse of it here with a nice little reflection image with a helicopter coming in, you know, two sides. How would you label this as a third act when there's no change of scenery? It's not. It's not the third act. I'm just saying this is setting the stage for the third act. To me, the third act starts when Keanu, when Neo says, you know, I'm gonna go and save him. And then he comes in. I think it's his call to action. It's his call to action. Oh, yeah, yeah, yeah. One day I'm gonna read about the call to action and actually point out the structure, but not today. Not today. Did we ever talk about what the real call to action is in the film? That's what I'm saying. I'm gonna go read it up for the next episode.

16:06Okay, well, that's your thing. Next time, come back and tell us. Yeah. Because I'm curious. I feel like the call to action would be when Trinity types in Alonio. Hmm. No, no, no. The call to action is Morpheus talk. Because he has to make a decision. No, wait. Shit. Okay, okay. Because here's the thing. Because the call to action, the classic way is he introduces to, like, okay, so I'll give you an example of Luke Skywalker, right? He meets Obi-Wan, you know, something happens and Obi-Wan's like, come help the princess, you know? And he's like, no, I want to go home to my family, right? Isn't it the dilemma? Sort of like whether to stay at home or to answer the call of further something bigger than yourself.

16:49And then something happens in this case, you know, the agents get to Neo or in Star Wars, his family burns into crispy bacon. That's his call to action. Yeah. Crispy bacon. And then he's like, oh, no, I have to go, you know? And that's like, they're like swept into the action. And then like during that, they kind of realized, well, you know. Hey, but wait, if you put it that way, then Neo's call to action would have been when he offers in the pills. Yep. He's going to shove up in his ears. Yeah. Yeah. I think that's, that's the proper one. Cause that's his decision. And that's like his, you know, but anyway, so what do you, cause I thought like acts that was from like theater because you have the first act and you have a break and then you have a second act.

17:29And usually a change of scenery, like in ballet, usually it changes. Like, you know, the first one is one scenery. Did the film involve out of theater? No, I'm just saying like, what, what, what, how do you, how do you specify those three acts in your, your opinion, Phil? I don't know. I think that, um, from what I remember is that typically, um, the acts are placed within that hero's journey model that a lot of movies tend to use. Am I, am I right there or no? I don't know. I'm asking you guys. I have no idea. Hello? What? Aren't the acts usually, don't they come from sort of a, the, the Joseph Campbell model? Yeah, it's a Joseph Campbell archetype. He took all kinds of Greek myths and Eastern myths and just saw what connected them.

18:14And then just like, you know, combined them kind of and said, this is generally speaking what the hero's journey usually goes through. So then where are the acts? Yeah, what are the acts? Act one is introduction. I don't think this is part of the work. Introduction. Introduction. Um, I don't think it's specifically for the hero's journey, but the three act structure is probably a different thing in modern cinema. Where you pretty much just, um, say act one is where things are introduced and the setting is, uh, you know, like illustrated. And then act two is where, uh, the conflict happens. And then act three is where the conflict will be resolved. Okay.

18:55So the act three is like usually like very small, like at the end, like just like a pooey. And then like the middle one is like the climax. Act three is the climax, the fight. The fight. I already have it here. I have it here. It's beautiful. So we have three acts. And then we have also the hero's journey, which is what typically a lot of these movies tend to do. So in act one, we have the setup and inciting incident. Okay. So something like the hero's journey that follows things like the ordinary world. Then we have the call to adventure. That's what I'll talk about. There it is. Yeah. Yeah. And then the refusal of the call. So I guess it's like a hazard. I can't go to, to Alderaan.

19:37Yeah. Yeah. I have a family. I have to do the, I have a family. Then meeting, meeting with the mentor. Bing. There you go. Yes. Crossing the threshold is the end of act one or the beginning of act two. So basically he gets unplugged. That's the end of act one. Okay. It's a literal cross. So act one, we finish act one, we're into act two. Act two is labeled here as like the midpoint. And there's a lot of stuff that happens in act two. So we have tests, allies, and enemies. Yeah. Oh yeah. That's exactly. Yeah. We have approach to the inmost cave. Is this Plato's cave stuff? I don't know which cave we're talking about. That's the depth of the beast. Probably. I don't know. The bad guys layer.

20:17Oh, I see. Okay. Where, where the ultimate evil is. Right. Touch the darkness. Then the ordeal. So I guess some conflict, right? Okay. I guess the ordeal would probably be, um. This, no? Yeah. Like this setting up hole with Morpheus being captured. This is the whole concept of the film. Yeah. This is like the, oh no, the rug has been pulled under my feet. Then we have the reward. What? The reward. Not sure. I guess it's like to strive for. Like a golden goose. And then we have, at the end of act two is the road back. And I remember, uh, when I attended this film week, film summer camp week in Michigan.

20:59With Phil and I was a little boy. Bobby. Our teacher was talking about this structure. And he, and I'll never forget the example he gave for the road back was when he said, uh, in Finding Nemo, when, um, what's his name? Marvin? Is that his name? The Martian? Yeah, yeah. The father. Marlin. His dad. Marvin the Martian. I have approximate knowledge of some things. Yeah, exactly. Marlin, when he goes, oh man, my son's lost. And he goes back. I remember he's like, I guess I'll just go home. Remember that? Okay, that's the giving up kind of. Yeah. So that's, that's the road back. Now, I don't know if the Matrix, if it would be. No, because Neo's pretty like, I'm just going to go do it. Yeah, well, our road back could easily be where Neo doesn't, um, like, he's not able

21:45to help anybody. Yes. I was going to say the road back could be Tank. I'm just another guy. Tank pulling the plug. Yeah. Like, we'll just give up and we try. Oh, okay. Another character's, but he's like, yeah, okay. Yeah. It's not, it's not him. That's my guess. I mean, I don't know. Could be different. Yeah. Usually in like comedies, that's like a, the two people have a fight. Yes. And then you lied to me. Oh. Yeah. And then they're walking home or like, you're sad. I guess it's not going to work out. And it's like, Shrek and Donkey. Yeah. That's what I was going to say. Shrek with the hallelujah. Yeah. Yeah. Okay. Gotcha. Yeah. And then we get into act three. Act three. We have two things. We have a, yeah, the climax and the resolution. Okay. And on the hero's journey, that is the resurrection.

22:26Yeah. Oh. And returns with the elixir, I guess is the mythology and stuff. I guess the reward. Well, he does come like, he's like. Yeah. He's got the power. Yeah. Yeah. Neo resurrected. Like Matrix is almost literal. Of course. Star Wars. It's by the book. It's by the book hero's journey. That's why it probably translates to more people just to get it. And then he comes back as the one. That's what Joseph Campbell tried doing. He tried making this universal story. What would be in Star Wars? The medals? I hate that word so much though. What? Universal. It drives me crazy. Da, da, da, da, da, da, da, da. Tim is a universal man. He's a universal soldier. What would you say? Tim's universe revolves about being universal. I love Tim and his universe. What's the return with the elixir in Star Wars movies?

23:09Well, when he actually uses the force and then destroys the Death Star and goes back. Oh, I guess. Yeah. But I guess he has to be destroying the Death Star. Returning with the elixir, yeah. It means like you've learned something. You've ascended. Yeah, yeah, yeah, yeah. Yeah. Cool. So there we go. And in ours, like Matrix, he returns with the elixir. Neo is the one now. I know. I said that. Yeah. Oh, yeah. Okay. Sorry. I mean, like, you know, at the end where he's talking over the phone. He's talking with the elixir brewer. He's like, I need a lot of these to maintain my powers. The amino acid is back home. Not good. Not good. Tank's dead. I mean, when am I going to get my aminos? Dozer, since he's not around. I mean, sorry. Dozer's dead.

23:50Lion King does the same thing. I mean, there's so many movies that do this. But it's amazing. Yeah. It's actually really amazing, though. But it's funny, because I was thinking about it. It's really only, like, mostly movies that are prone to be blockbuster-y tend to follow. That's because they want to hit those quadrants. Every corner. Because once you start looking at other films, it doesn't follow the structure. No, there's a lot of movies that, like, there's no structure at all. There's no acts. It's just like, you know. But this seems to be, like, a good template to follow if you want to insert. If you want almost everybody to watch the movie. Yeah. Especially, I feel like, a protagonist. A protagonist that's, like, supposed to symbolize, like, a good, you know. Yeah. A decent person.

24:31Yeah. A hero. Exactly. So that's why you're kind of stuck with this. But it's so funny, because when I was a kid, I used to think, like, hero's journey, this is how movies have to be. And it's like, you know, it's just one way of doing it. Yeah. So. So, yeah. This minute. Well, let's talk about it. Trinity wakes up and then sees Tank's little wound. Now, we can observe this wound ourselves and just take a look at that in detail, Jacob. We can just check it out. I think it's the first time I see it in detail, because Blu-ray. It's not nasty DVD. Yeah. Look at it. It's just a burn. I think these things. What do you think these cannons do? You want me to find out something about this thing? Is that his skin? Yeah. It's like burnt skin, I think.

25:12Because it used to look like, to me, it used to look like an open wound. Like, flesh. Yeah, me too. It was very fleshy and gooey. This is very hard and burned. Huh. Special edition change. Okay. I guess maybe it's just the gray. Like, it was much more redder than, like, the DVD. Yeah, because it looked like an open wound. Like, it was like the piece of his skin was just, like, torn off. And you could see, like, the muscle. This looks just like burnt skin. This doesn't look too bad, honestly. Yeah. Maybe, like, you know, the burnt skin is just a side effect, but actually you die from the electric shock. You know? Yeah, and he just used it. I don't know. He used the car pliers to, like, resurrect himself.

25:53He tried it a lot on Dozer. So, and then we cut to Greenland. Well, I wanted to talk about the effects of the... The wound? Oh, okay. Yeah, no, no, the rifle. The effects of the wound. It hurts. I need to find it real quick. General food is a pain. Well, then, while you're finding, you can return back to it. Let's go to the magical shot of the helicopter going up the building. Well, she asked about Dozer, and he's like... He's crying. I know, it's sad. Didn't he say he didn't make it? No, he just goes... Oh, yeah. And she's like, I'm sorry. Yep, so there's the building.

26:33Okay. Yep. I'm waiting for... Very symmetrical. Bill and his... I'm still looking for... It's almost like the helicopter's flying into itself. Mirrors. I said it's supposed to be mirrored because it's like just a little nod to, you know, real world, fake world mirrors. Boom, bam, bam, bam. I'm sure. That building is in Australia. Yeah. Did you find your zapping comments? No, I can't find it. Is it that interesting or no? Forget it. It's probably just like electroshock, stuff like that. Forget it. Let's go. Okay.

27:13And here we are. We kick into gear. The soldiers are going down that roof. We're going to be on that roof soon, setting up that big fight that we're going to have in a few months. So let's talk about these buildings. That big fight. These banks and brands. Yeah. They're all in Sydney, Australia. Mufa. Some of the buildings were added on Photoshop. Norwich. So it doesn't look exactly the same as Sydney. How about that big circular thing? Is that real? That's real. That's a real one. Wow. The big circular one? Which one? The one on the right, sorry. The circular pyramid thing, maybe not. Yes. Hugo Weaving talks about his acting career to Laurence Fishburne. They share details.

27:55They find out that she's sharing agent. I never looked at the details of this room. It's pretty interesting. These little lamps. No, sorry. The inside of the apartment where they're staying or whatever it is. No, no. That circular building is real. Cool. Magical. It's the Mufa building. Mufa. It's an extremely sterile environment of the building, office building. It looks a lot. Do you think that's their office? Or they rent it? What, the agents? Is this another episode? I mean, they're not like rented as in like, it's a special occasion where they keep them right now. Or do you think this is the actual agent office? Where they work? I always like to think it was just special occasion. Like they're like, we need this?

28:37No, like they literally just said, we need this room. And it's like, codes, codes, codes. So you don't think it's like the actual agent office where they go to? They can be that too. That'll be the HQ for the show. The agent show. Exactly. Little lamps. I'm sorry. I'm not participating very much today. So who cares? We'll read later. Agent Smith goes like, have you ever stared at it? Marvel, that it's beauty. It's magnificence. So he's commentating on the Matrix. A lot of people living out their lives. This is his chance to give his speech. Oh, yes. Oh, he's got Morpheus strapped down. He can say whatever he wants. He's going to start talking his ear off. Yeah.

29:17Yeah. And he's got a nice little Napoleon posture there. One hand on the back. One up front. Behind his back. Yeah. Isn't that a cool shot that like when it shows the, you know, Agent Smith far back into the, like next to the window. And then there's this shot of Morpheus in the front. And then the camera actually does a nice little dolly move and rotates three-dimensionally, you know, like around. Morpheus. So you can see, uh, Smith from one angle and at the end of the shot to another one. There's a lot of like, uh, white trickery there. Yes, indeed.

29:57I almost never, ever realized shots. Almost ever. Okay. Like, oh, like what's actually happening. Usually what happens is I sometimes find out halfway or beyond halfway in a movie that it's, uh, I usually realize the aspect ratio of the film. And I go, wow, this is like 235. We're like, wow, it's 185. I just realized. Oh, you're joking. You're so funny. No, I'm not joking. I'm serious. No, no, no, no. So is that, is that a green screen? Because the dynamic range is pretty crazy of having, you know, the agent so well exposed with the background. So well exposed as well. Sorry, look at him. Well, Morpheus is dark. Trust me, if you saw any shot next to a window, usually it's a.

30:37Oh, hey, here's, here we go. I'll tell you right now. This isn't, this isn't, this isn't inside a building. This is in a set, in the studio. Fox Studios. Well, that's why. So that's why. That's why. It's not actual outside shining because otherwise not even a proper film camera could expose that. Right. The way you look at it here. The backdrop is a literal print. Yeah. Of the city. It's a fake city. With some added, yeah, buildings. Yeah. It's great. It's such a good trick. It kind of sells. Such a good trick. It does. I think it's the shot when he looks down, there's like the actual car movings. You know, it tricks your mind perfectly to think that that's actually outside. Oh, yeah. You put two and two, you're like, cars? Oh, they're right there. And we also, we also have this close-up of this, these, these crazy tools.

31:23These dangerous looking surgical tools. They don't use any of them. Well, maybe they do off screen. It's like a scary, scare tactic. But I guess, what would they use? Just like his torture devices? Take his tongue. Take his tongue. Spit on him, brothers. I don't know. Kick him in the balls like James Bond. Oh. That would have been a different Matrix movie. For all we know, they just put those sensors on him and drugged him with the serum. So they're waiting for him to crack, right? They're just waiting for this guy to say, give the access code. One, two, three, five. One, two, three, four, five, six, seven, eight, nine.

32:03With password. Password. Oh, we could have tested that. Tell us what the password is. Password is so stupid. They're machines who can generate a, you know, almost lifelike reality. They could hack a few passcodes. I mean, maybe not. If it was a long, if it was a long ass phrase. Well, Morpheus isn't in the Matrix. Like, he's not, he's not part of the system. Morpheus's mind is independent. I mean, like, crack or try to crack Zion, you know, just like. Oh, you mean just find a password. Enter millions of passwords. Well, because I think the entropy level would be super high. If it was, then I think that had trouble. What? If it was a long phrase, yeah.

32:44I guess it was just, even the greatest machines, it would take years. And plus, probably, wouldn't. That was the password. Even for the greatest machines, it would take years. Wouldn't it have fail-safe methods designed at, like, three attempts that locks down the whole thing? Two attempts kills Morpheus. It's the lyrics to Bye, bye, bye. Backstreet Boys. Or, dude, you know, it could be, like. Oh, isn't that, isn't that NSYNC? Anyway, yeah, I think they have fail-safe stuff. But, yeah, it's interesting. So, anyway, what's his name? I always forget his name. Agent Smith. Smithy. He talks about the city. Big man. And then he begins his big speech. Oh, yes. A history lesson. Did you know the first Matrix was designed to be a perfect human world where none would be.

33:26I wonder where he knows history. Where everyone would be happy. It was a DAZZADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADADAD what are you saying? I'm sorry. Thank you for listening to the Matrix. Where none suffered. Everybody would be happy. That was minute 91. Yeah, that was minute 91.

34:07I have some cool stuff on the script. For this minute? Yeah. Oh, okay. I think we can get there. No, no. Are you done? Are you serious? This is it? This is our minute? No, I was just joking because you couldn't even get, you know, words. What do we say? This is the story about the Matrix and it's supposed to be a perfect world. Against the problems of like, what is reality and humans and stuff. We've done that, didn't we? Yeah. That's true. Humans, what is this? She's so stinky. It's like humans have a natural tendency to reject perfection because we're imperfect beings. This is how to make the Matrix worse. Okay. Morpheus, have you heard of the Uncanny Valley?

34:50You know, it's too good. Look at my face. Look at the imperfections, the spots. It looks like I had pimples when I was a teenager. When the Matrix was made first, my skin was so smooth. The people looked at me. They didn't believe me. I was here. They unplugged themselves. But now I'm way beyond the curve. Uncanny Valley. I'm on the other side. Look at me. I'm looking down, laughing. I'm looking at the curve saying, ha ha. I have cavities. Unbelievable. Like you. It's so realistic that it sometimes hurts when I eat cake or steak. A sugary item.

35:30Do you want some candy, Morpheus? No, I just meant, unfortunately, I can't eat steak, which is why I didn't order steak. Oh. Can't chew. That gets into it. Oh, oh, oh. I hate flossing. I hate it when the food gets out of the kitchen. That's why Agent Smith doesn't like this matrix. He has to be so realistic that he has to floss. Exactly. That's why he's pissed off. He just wants to get out of there. He hates it. Doing all the mundane. We'll get there next minute, I think. There's going to be more than that. Yeah, I don't know. I really don't feel like talking about the whole thing. We talked about it before and stuff. Yeah.

36:12I failed. I failed. It glitches. It glitches. It's me. I'm glitching. I'm glitching. I'll tell you something about the 1996 script. Tell me. Hit it. Oh. I was going to say we could have reproduced the jingle this time. This is actually pretty interesting to be honest. We'll find out when you read it. Well, here's a big difference. So in this movie, it's the government building. It's like this big government agent building, right? It's official.

36:52Like for the Matrix Corporation or whatever. Yeah, for the Matrix Corporation. Published in. It's where the agents go and have their computers. I don't know what they have. Where they have their computers. That's a great sentence. They don't have laptops yet. Guys, let's go back to the computer. Good job. What computer are you working on? Hey, is that a new computer? Wow. I have a black one now. I have Windows Millennium Edition. An upgrade from the green colored one. Look at this. Look at this. Yeah. Look at the intro page. It's so much more family friendly. The colors.

37:32I can type faster. All right, guys. Well, I just wanted to mention. All right, we're done here. Off the computers. Turn off the computers. Computer time is over for today. We'll be back to the building where we have our computers tomorrow. Okay. Tomorrow. Okay. So, this is an official building, but in this, the scene is fairly different. It's still a building, but it's called the Nikko Hotel, a Japanese luxury hotel in downtown Chicago. That's crazy. A military helicopter sits down on the roof. Heavily armed Marines begin to deploy. Agent Jones gets out of the helicopter, flanked by columns

38:13of Marines. They open the roof access door and enter the top floor maintenance level of the hotel. So, the difference here is that maybe this whole hotel would have been like a hotel. It wouldn't look like this. Okay, that's interesting. And it might have looked a little more Japanese because it's a Japanese hotel. Luxury hotel. With spas. So, they're really, you know, they're really getting that Japanese influence in there, literally. Okay. And so, they get in the elevator and every door at least two Marines stop in post guard. So, we have this montage of all the Marines going down the elevator and they get out, two of them, each level. And, and they exit the elevator

38:53and walk to the presidential suite, the final two Marines post guard. So, we follow the Marines from the, from the top Okay. down to the level with the, with the presidential suite and there are these two Marines, you know, running and you can imagine the tracking shot of them getting to the end of the hallway. Yeah. Into, like, you know, the front. And they post and the door opens. Inside, he, uh, Agent Jones, because that's the one we were going with with the Marines, finds Agent Smith and they have a conversation. Agent Jones says, there is a problem. Reagan failed to secure the hardware. And then Agent Smith stares out the window. Never send a human to do a machine's job. And then Agent Jones

39:34goes, but if Reagan has failed, why have they pulled the plug? Why haven't they pulled the plug? Agent Smith goes, haven't you learned by now that it is impossible to understand why they do the things they do? He turns. Continuous plan. How they use their computers. Continuous plan. Trace the... We use ours better. Trace his signal to locate their position and deploy an extermination unit. Morpheus is handcuffed into a chair, stripped to the waist. Not in this movie. You mean like shirtless? Yeah. Yep. Huh. His nipple is hot. He is bleeding from numerous wounds and is pumped from serum.

40:16Alternatively, shivering and sweating. It hurts incredibly. He is hooked up to various monitors with whited disc electrodes. That's it. That's where the computers are. And there you go. And that's the whole thing. So what does that mean, fail to secure the hardware? Are you talking about hardware of the people? I don't know. I don't know. What does he mean? I don't know. Maybe he was talking about the... This is part of this subplot of... Cypher succeeded. He gave them Morpheus. What else did they want? Maybe that software and the hardware to be the actual person. I guess they need the actual person. Or they want Morpheus in the real world. Or maybe they just need the ship. The ship to access... Oh, maybe, dude. Maybe Cypher was supposed to... Deliver the ship, yeah.

40:56Deliver the ship. Yeah. And Morpheus, you know what I'm saying? In the real world. But this sounds so funny. I'm glad this isn't in the movie because it feels like the bad guy's base. You know, it's like... It's ridiculous. We have not found the thing. I hate that. Deploy the... He smack them up. Deploy the hounds. The world never understand why they do what they do. So don't question it. Oh, it's a nice picture of Philip the Preacher. Yeah. Did you see the antenna? Yeah. Yeah. Radio broadcasting. Broadcasting. The end of the world. Yeah. Okay. Well, that's our minute. So hopefully... Our minute? Why are you so bad at talking? Is there something wrong with my...

41:38Because your antenna, my brain... My brain... ...is disrupting your brain... ...brain waves. A brain wave. So why is it so funny that the room with the computers... Because it's hilarious. I don't know. It's like, what is that? It fits with the show. The room with the computers. Guys, let's go to the computers. Well, I thought this was a database central, you know. This is where people who work for the government are actually, you know, doing stuff for the agents. I know, but I mean like... There's a funny description like where their computers are. It's like, where are you going? Where are my slippers are? Yeah. You know, like, oh, that's... Okay. My shampoo is in the cabinet. Okay, so... That's my shampoo place. Okay, that's it. Shampoo-poo.

42:20Shout out to Star Wars Minute. That's right. It's a good name, Shampoo-poo. Shampoo-poo. Yeah, that's a thing. We did a thing. We did a thing. And that was that. Minute 91. Sometimes we have duds. We give duds. I mean, it's the best minutes of art. We give duds. I don't think you can see what you call duds, I call gold. Yeah. Different self-pinn. One man's shampoo-poo with another man's shampoo-poo. No, no. One man's shampoo-poo with another man's shampoo. Exactly. That's gross. Yes. One man's poo-poo with another man's shampoo-poo. Whatever. Yes. Oh, by the way, the best thing in the world, I bought some shampoos that don't, they're not like classic shampoos,

43:00which is like a classic like bottle thing and you have to kind of turn it over, squeeze things out of it and then it comes out. Right? Bop it? Like just normal, like a container, shampoo comes out. Yeah. I bought like a bigger one because I use just the same shampoo and it always runs out real quick so I bought a bigger one and it has a dispenser on it. What? Dude, it's the best thing in the world in the shower. You just go boop boop, two doses of shampoo, plop it on your head and you're done. Nice, nice. No more of the naughtiness of like nastiness of like shampoo everywhere and it squeezes it and then like it gathers around the hole and then you have to get rid of that gunk. I just want everything as a dispenser. So are you telling me that they make brand name, I don't even use brand name shampoo, I use generic shampoo,

43:40but do they use, do they make shampoo like a lot of them in the big ones with the little dispensers? This is the first one. I mean like it's basically like hand soap, you know, like you have next to your sink, that kind of, that kind of, yeah, but like an actual shampoo. So is it also like for like brand name stuff or just generic? I don't know, man. This shampoo that I use had this and now I just want to found shower gale, everything, everything I use in the shower I just want to find in this dispenser. You just have like, you know, like make a little mixtures. And the next level is your automated like a button, like a button on the side of the thing that like gives you, you know, I probably have like a shower head that like has like a button that's like one point it puts the shampoo in the shower head. Perfect. And it kind of mix and just like,

44:20yeah, like a little bit of shower. There's your Kickstarter, Jacob, there's your Kickstarter. Will it be called shampoo boo? Yes. Exactly. That'd be the best. Shampoo boo. I was going to say, I love the, what I want, my dream shower is the rain shower. It comes to the top. Jacob, we have a rain shower. No, but it's proper like the whole like the block. This is just about the whole thing. Oh. It's pretty close. Yeah. You've never tried it? Rain. No? No. It's wonderful. Okay. Anyway, thank you for listening to The Matrix. Yeah. And we'll be back tomorrow, not tomorrow, whatever, next time. Friday. Next day. Friday. I can't keep it. Or wherever the hell you're listening to this. Please stick with us.

45:00The best is yet to come. Yes. The best episodes will still come. It'll be fun. I promise. Bye. Promising away. Bye. Bye. I sweat. Why are you going to sweat?

45:41Because I have tripled shirt. Take them off. No. Philip, this is typical of you. I'm going to be hot. What are you wearing? A snow coat. Take it off. No. I'm going to take everyone's time and complain. Take it off. You happy now? I don't care.