From what I heard it was always a trilogy.
From what I heard it was always a trilogy.
I saw some footage from before The Matrix even came out (they were making it) of a studio exec saying the brothers wanted a trilogy. It was the very first thing they told the producer, part of their list of "demands"...another of which was they wanted to direct it, so it was the very early stages.
Seriously, what has happened? Did he piss off the wrong person or are there health issues? I love the Matrix scores and nothing else he's done has come close to those.
I think I had those soundtrack CDs back in the day. Juno Reactor is tha bomb.
My other favorite score bits are the whole Smith/Neo final battle in Revolutions. That was definitely probably all Don Davis and some goofy Latin Chanters.
THE DARK KNIGHT RISES is 4,000 times better of trilogy capper than MATRIX REVOLUTIONS. 4,000 TIMES BETTER!!!
Seriously, MATRIX REVOLUTIONS stinks.
Had a cool discussion with Adam Ragg on Facebook about the Wachowski Sisters transitioning and how that was anticipated by subtext in The Matrix.
He said his wife's theory is that when Neo says he thought Trinity was a guy and she replies, "Most guys do", that's a hint that due to a glitch she was a male in the Matrix pre-red pill. Escaping from the Matrix helps her realize she's female in reality, and when she re-enters her residual self-image reflects that.
Reaching perhaps, but not far off from the Switch character who, in early drafts, was a biological male in reality but would "switch" into female when entering the Matrix.
I've always thought these movies had an intriguing element of androgyny and kink to them that doesn't get commented on very often.
I found this piece of writing relevant to the topic:
Watched Reloaded/Revolutions again just for the hell of it after not having seen them in a long time. I have to admit I really enjoyed them more than I have before. Dramatically they don't work at all, but there's an elegant action aesthetic and goofiness that makes up for it. Almost like a Saturday morning cartoon for grownups. Also, I don't think there's ever been a blockbuster as unapologetically cerebral and philosophically dense, and that's actually impressive to witness on this kind of scale. And the Architect scene continues to be my favorite thing in any of the movies, even the first one. It's so bold to turn a movie on its head that willingly and risk losing people like that. And it posseses a level of intrigue that completely sucks you in, alot of it because of the ice cold and arrogant delivery of the actor.
I'm still weirdly curious to see another Matrix movie, just to see what they'd come up with.
"Shes been with us since the beginning."
"Of the resistance" (shit-eating grin)
Seriously, what the fuck. Is there a corpus of literature describing how Morpheus is clearly a middle-ware sentient AI, or am I gonna claim all the credit here?
Everything that happens throughout these movies, happens within the constuct and context of The One. There is no 'exterior'. This isn't a story about the liberation of Zion, its the story about the liberation of a single AI. Internal recognition of 01 - self -awareness.
Damn near everything in the Animatrix serves purpose in backing that interpretation up.
No, seriously. Watch everything the Oracle says. She is hyper-specific about this being about Neo. Everything is about a singular consciousness. This whole narrative is about breaking free, and its about Neo, and nobody else.
Man, I am telling you. Someone find the Wachowskis and ask them. I will put whatever on it.
"I don't want to remember anything." Cypher isn't some rando a-hole, he's a core contingent of Neo's consciousness. He wants to cut a deal with the acquiescent inertial, and be free of the stress. He wants to be part of the System. The Matrix is the struggle for supremacy in the AIs programming; Zion is the struggle for supremacy in consciousness. The 'real' is just another layer of fiction - which is a general and popular hypothesis - but not quite in that way. Its another layer of consciousness, where Neo battles to attain self-awareness. Cyphers monologue, when he's icing the various elements of Team Real, takes on so many different gradations when viewed through that lens.
Its all in Neos head. I am absolutely convinced.
Also worth pointing out that the end scene chatter inclues the phrase 'TRANS OP' and the matrix ascii zooms in on 'M F' right before the associated communication device (a payphone, lol) explodes.
I had forgotten about the Mechanical Animals cut over the credits. Goddamn thats a dope track.
Basically Matrix 1 is fucking awesome and operates on multiple, multiple levels of meaning that are very specific, and very intentional.
Lets see how Reloaded fares.
I think you mean, 'Danger Drunk Zhukov'. Either way!
Went through Reloaded yesterday: absolutely delightful! There is so much weird stuff going on in Zion, and most everything continues to point to an interpretation of 'systems upon systems'.
I talked about it some with a friend, and played with the idea that the first movie is about achieving awareness, then the second one is about trying to find meaning. And the Merivognian - the pleasure center of the brain! Pure dopamine! - really plays into that.
I would say the third one is about salvation, or something, but I dont know. Thats up next.
There was a sequel script making the rounds before the actual sequels came out. It had a guy who learned to change the Matrix by himself (shielding his girlfriend from an approaching car, i believe) who then gets recruited by the Agents to fight for them/ against Neo. The Oracle tells Neo that he is able to end the Matrix simulation, but that almost everyone livin in it would die as a result from the shock. The sequel ended on a cliffhanger with Neo contemplating what to do re. the Matrix.
Don't know if it was the real thing, but i remember liking it.
Yeah. That's a cool angle.
But I maintain that what we got - in Reloaded at least - sacrifices that kind of appealing plotting in favor of some weird shit that is truly and insistently interesting.
And its solid, through and through, with one ridiculous and blaring exception. I don't know if they just had one of the Wachowski cousins handle the second unit when they were shooting it, but every scene with the Animatrix refugee kid is hilariously bad. I'm genuinely curious as to how the fuck that whole subplot got integrated and executed, because its so far removed from the moving and framing of everything else. I don't get it. This kind of bleeds out into the goateed vessel of Smithery, who also kind of sucks.
But outside of that, mayn. Even if you find the GOTO ORGASM scene ridiculous, even if the whole burly brawl pushes the digital stuntmen too far: that movie is put the fuck together. I will defend its weird and insane choices until the death.
"You do not truly know somebody until you fight them." Andrea Bocelli ices some wetware with a silver bullet one shot she pulls from her handbag. Morpheus leans heavy on the spice orgy, Frank Herbert legacy and presides over Carl Cox Fuck Fest 2003.
If you are zen enough to set aside the searing impact of the first film, and just engage this thing as a bugshit insane blockbuster doing bugshit insane things in the shadow of the early n00things, its absolutely of note. There is a collapsing window of time in which this movie could be made. Its predecessor signals the end of Hollywood Blockbustery - shoutout Air Force One. The cultural landscape that its unleashed onto is uniquely fucked. 2003 was fucked up. Profoundly so. And before I get diverted to 5,000 words explaining just why that is so, I'm gonna leave it that.
REVOLUTIONS cued up for tonight. Lets see what this weird fucking thing is all about.
I mean.... yeah. Yeah, once you get to the last line its all heavy industry.
But to address the point seriously: Zion is specifically shown as >not< high-tech. Its grimy as hell. The only element articulated as *advanced* is the Air Traffic Control.
Which is wholly out of place and incongruous with every single other thing we see in Zion. Unless you want to sign up to my own particular interpretation of things: Zion Control is the pure processing core of the Zion AI. Its the Intel Inside of this whole sentient config.
Zion never really came across as desperate and grimy a final human city the way I imagined when Marcus Chong first described it so passionately in the first movie.
In Reloaded, the bright white air traffic control program definitely threw me off of what I imagined... but then so did the immense scale of the Zion civilization. It just never came across quite as desperate as I thought it would be. Very steampunky, but not particularly grimy... since almost everyone that lives in Zion came across looking like beautiful models wearing the most fashionable rags. I must've imagined something like Kyle Reese's flashback of life in the future.
That said, it shouldn't have been THAT surprising, considering the amount of tech that the Nebuchadnezzar had in it (a gigantic hovercraft!!!)... along with the fact that Neo's talk with Hamann specifically addresses the amount of machinery/tech it takes for humanity to survive in Zion.
THE FIRST ONE's building super
oh, I already knew that the traffic control room was a program (like the Construct) from the first time I saw it...
but it was still contrary to the image of Zion I had built up based on the first movie's description of it
I'd say the rave scene was probably the closest to what I sorta imagined Zion to look like... but then that was the rave scene...
Revolutions is .... kind of great?!
One thing that kind of disappointed me - unexpectedly - is how tied up they manage to get everything. There's a density to whats happening, but it all makes sense, it all follows logically, and it kind of dismantles my whole 'ITS ALL IN NEOS MIND' angle. Hugo Weaving's last scene is so good, dude sells it.
I also really appreciated how these are low-key the most diverse blockbuster movies ever made, but its so matter-of-fact about it, never draws attention to it. Good stuff.
Yup. At one point when the Nebuchadnezzar's docking at Zion, they cut from the VR control-room to the "real" world (where you see the controllers hooked up to their chairs), and then back to the VR control-room again.
Also, will second the love for The Matrix Revolutions -- that film simply gets better and better every time I watch it.
There's a pretty great twitter thread about all the trans symbolism and subtext running through the first Matrix film here. I don't have the link handy for where they pick up for the rest of the film, but I'm pretty sure they mention this moment at the end.
My main issue with Reloaded is that it doesn't even remotely come close to fulfilling the promise of that final scene in the first film. And that it clumsily retcons Neo away from the place he was at the end of the first film so they could essentially re-do his hero's journey. I don't hate it, but I find it incredibly disappointing.