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(January,2004)
From: Variety (The Detail is here) THE 'MATRIX' SEQUELS
Kathy A. McDonald (Variety) The Herculean task of shooting "Reloaded" and "Revolutions" --- the back-to-back sequels to sci-fi phenomenon "The Matrix" --- can be grasped by the numbers involved: a 270-day production sked, 150 sets, 2,100 visual f/x shots and thousands of costumes, including signature black suits for 160 stunt doubles for Agent Smith. Complicating the storytelling process on the trilogy, produced by Joel Silver and written and directed by the Wachowski brothers, were various realities in the films. These included the machine-generated Matrix, the real world inside the hovercraft ships and the underground refuge called Zion. As if that wasn't enough, a video game was being shot at the same time. PRODUCTION DESIGN Conceptual artist Geof Darrow began the complex design process by rendering detailed drawings of the sequels' mechanized beings and elaborate sets, such as the massive, cave-like Zion Temple. Production designer Owen Patterson and an art department of 400 then had to realize those intricate designs, from Zion's various levels, to the gritty ship interiors made of steel and conduit, to a mile-and-a-half long freeway, to the final rain-soaked street and skyscraper-crashing confrontation within the Matrix between Agent Smith (Hugo Weaving (news)) and Neo (Keanu Reeves (news)). All the combat, stunts, production design and visual f/x in the sequels continue the visual aesthetic established in "The Matrix," and expand into two new realms: the machine city and Zion, where humans have made their last stand. Zion is located in vast caverns near the Earth's center. Per "Matrix" lore, it holds the habitat for the world's last 250,000 humans. Patterson describes its look as the exact opposite of the machine-made Matrix. "It's reminiscent of early 20th century industrial design, very decrepit but still practical," he says. The uppermost levels of Zion contain the command center and loading dock, which have a scavenged, rusty patina. Under a cistern-like dome, Zion's dock area is fitted with steel platforms, elevators, bunkers and enough airspace to host a swarming invasion of airborne, octopus-like machines called Sentinels. Zion's human fighters battle the relentless Sentinels on the expansive carrier-sized landing dock using Armored Personal Units (APUs). Much of the action was CGI, but Patterson's sets included massive ducts and sections of the dock. The prop department made a life-sized mock-up of a 14-foot high, steel-cage enclosed machine-gunning APU for visual f/x capture as well as for close-ups. According to Patterson, collaboration between departments was extraordinary. To add texture and rubble to the landing dock set, Patterson used the visual f/x files to create molds and cast physical models of "dead" Sentinels. Colors and textures he added to the models were then incorporated into the CGI version. COSTUMES Color palettes were key to defining the separate worlds within the film: the virtual Matrix exudes an incandescent green; the real world is all blue tones. Patterson collaborated with costume designer Kym Barrett ("Three Kings," "Red Planet" and the new "Superman") to coordinate those hues. Barrett and Judith Cory, department head/hair on both films, had extensive meetings with the Wachowski brothers to define the look and costume of each character. "There's a definite look to the Matrix, but with no particular time period," Cory explains. "It's not in an actual time realm." Many costumes had to accommodate wire harnesses as well as be created in multiple versions for stunt doubles. The principals each had two to three looks that evolved over the course of the films: the slick, stylized, latex and leather ensembles within the Matrix, versus the down-and-dirty natural look of the characters in Zion. Dressing the citizens of Zion was the most difficult assignment, Barrett says, involving more than 1,000 extras who were outfitted in rustic clothing made from non-processed hemp and vegetable fibers. Barrett took inspiration from the natural fibers found on mummies in China and Mongolia. "We found shapes and textures that were delicate and beautiful, but raw. We tried to stay along that vein," she explains. MAKE-UP/HAIR "Matrix" lore holds that within the computer-generated realm, physical events don't affect the way a character looks, no matter what's happening. During "Reloaded," Carrie Anne Moss (as Trinity) maneuvers through traffic on a motorcycle at high speeds, but her hair stays coiffed and in place. "Revolutions" climaxes with a fight sequence referred to as the "super burly brawl" between Neo and Agent Smith. For almost eight weeks, actors and stunt doubles shot the sequence in pouring, monsoon-like "chubby" rain --- water that was thickened to appear larger and more droplet-like on screen. Keeping the actors and stunt doubles looking spot-on under the downpour was one of the biggest challenges for make-up department head Peter Robb-King, whose job spanned both sequels. Wigs and make-up had to be waterproofed; costumes were insulated to keep the talent somewhat dry. He elucidates the Wachowski brothers' attention to detail. "We would shoot and make it perfect and then shoot again to make it super-perfect," he recalls. The marathon nature of the back-to-back sequels tested both cast and crew, as long hours were required for such an extended period of time. "We had a nucleus of good people who stayed the course," Robb-King says. Copyright © 2003 Reed Business Information, a division of Reed Elsevier Inc. Variety is a registered trademark of Reed Elsevier Properties Inc. and used under license. All Rights Reserved.
From: Business Wire (The Detail is here) Everything That Has a Beginning Has an End: ``The Matrix Revolutions'' Premiering April 6 on DVD and VHS From Warner Home Video
January 12, 2004 08:01 AM US Eastern Timezone Everything That Has a Beginning Has an End: ``The Matrix Revolutions'' Premiering April 6 on DVD and VHS From Warner Home Video BURBANK, Calif.--(BUSINESS WIRE)--Jan. 12, 2004--Warner Home Video: -- Must-Own Explosive Conclusion in the Unparalleled "Matrix" Trilogy -- One of the Most Successful Film Franchises Ever, Having Grossed Over One Billion Dollars Worldwide Box-Office This Year -- Mind-Bending DVD Bonus Features Transport Fans on an Exclusive Behind-the-Scenes Journey Into the Creation of "The Matrix" Phenomenon -- "Two Thumbs Up!" -- Ebert & Roeper -- "A mesmerizing conclusion to the best trilogy in cinematic history." -- Shawn Edwards, FOX-TV The end is near as the epic war between man and machine reaches a thundering crescendo with the must-own DVD and VHS release of "The Matrix Revolutions," the stunning action-packed final chapter to one of the most highly touted and groundbreaking film series ever produced. Debuting April 6, 2004, from Warner Home Video (WHV) and Village Roadshow Pictures, "The Matrix Revolutions" will be priced to own at $29.95 SRP for DVD and VHS priced for rental. Released in an unprecedented worldwide scenario that unveiled the film simultaneously in 80 countries around the globe, "The Matrix Revolutions" debuted to the worldwide box-office gross of $310 million in its first 10 days of release. One of the biggest film franchises of all time, "The Matrix" trilogy has grossed a staggering $1.5 billion dollars in worldwide box-office receipts to date. Written and directed by the Wachowski brothers and produced by Joel Silver, "The Matrix Revolutions" stars Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving and Jada Pinkett Smith. DVD ELEMENTS The two-disc DVD release includes hours of bonus features: -- Revolutions Recalibrated -- A behind-the-scenes overview that drills deep into the groundbreaking work that went into the final chapter. -- CG Revolution -- Explore the special effects arsenal and take an inside look at the making of the creatures and environs of the CGI-intensive third movie. -- Super Burly Brawl -- A crash course on the final Neo/Smith showdown with three multiple video streams: storyboards, behind-the-scenes and the final scene all running in sync. -- Follow the White Rabbit -- Watch the special features and select the White Rabbit icon to go further into the making of the film. -- Neo Realism: The Evolution of Bullet Time -- A closer look at how "Bullet Time" was taken to the next degree of madness. -- Super Big Mini Models -- The intricacies of filming in the world of models and miniatures. -- Double Agent Smith -- A look at what it took to make this incredible scene, including the work to replicate Hugo Weaving, with body doubles, lifelike mannequins, head casts and costumes. -- Mind Over Matter: The Physicality of "The Matrix" -- A look at what it takes for the actors and stunt people to perform the dramatic stunts of "The Matrix." -- Future Gamer "The Matrix Online" -- An introduction to the massive multi-player game "The Matrix Online," created by the Wachowski Brothers. -- 3-D Evolution -- Transition to different levels of the Matrix to view concept art, storyboards, pre-visualizations and realizations for several elements in "Revolutions" -- Before the Revolution -- 3-D timeline of the concurrent story development occurring in the Matrix between the "Matrix" trilogy, "The Animatrix," and "Enter the Matrix." -- Theatrical Trailer -- Weblinks to the official "Matrix" website and "The Matrix Online" test site SYNOPSIS In the powerful final chapter of the "Matrix" trilogy, Neo (Keanu Reeves) took another step forward in the quest for truth that began with his journey into the real world at the outset of "The Matrix" -- but that transformation has left him drained of his power, adrift in a no man's land between the Matrix and the Machine World. While Trinity (Carrie-Anne Moss) holds vigil over Neo's comatose body, Morpheus (Laurence Fishburne) grapples with the revelation that the One in which he has invested a life's worth of faith is merely another system of control invented by the architects of the Matrix. During the stunning conclusion, the rebel's long quest for freedom culminates in an explosive battle. As the Machine Army wages devastation on Zion, its citizens mount an aggressive defense -- but can they stave off the relentless swarm of Sentinels long enough for Neo to harness the full extent of his powers and end the war? BASICS DVD - $29.95 SRP
From: Tribute Magazine (Ca) (The Detail is here) A Conversation with Keanu Reeves
Tributefs Bonnie Laufer talks to fellow Canadian Keanu Reeves about wrapping things up with The Matrix Revolutions. B.L. How bittersweet is it to be sitting here and talking about this final instalment of the Matrix? B.L. There is no bitter partc B.L. You hang up your coat, itfs all said and done and now itfs been a while since you have played Neo. When you look back at it all what surprised you about yourself in your abilities and your capabilities to play this character? B.L. Tell me how you see it, because this is a huge thing that you went through. B.L. But how did Neo influence you? Herefs a character that just pushes himself to the brink and you do the same. B.L. Yes, we do see in Revolutions that he is human and I want to talk about your relationship with Carrie-Anne Moss because I canft imagine that thatfs a friendship that will ever cease. B.L. Tell me about working with her. B.L. You love Carrie-Anne. B.L. How monumentally has working on this movie changed your life? B.L. Has it made you think about what choices you make now especially for the fact that these movies are all about choices? B.L Was there ever a day on the set where you thought, "what have I gotten myself into?" B.L. Lets talk a little about the final scene in Revolutions when Neo comes face to face with Agent Smith and you have your final battle in this unbelievable rainstorm. Visually itfs unreal. B.L. What was it like shooting that? B.L. Do you ever think about topping this experience or do you want to? B.L. Why do you think that these Matrix films are so popular? B.L. I totally agree, butc B.L. There is no clear cut answer at the end of this film, as far as Ifm concerned. B.L. I wasnft really looking for an answer. B.L. How is Revolutions going to satisfy die-hard Matrix fans?B.L. I donft know, I hope they dig it. B.L. Do you look at scripts differently now? B.L. I canft imagine that there is anything out there that is as challenging as Neo c OK, maybe working with Jack Nicholson might compare. B.L. But thatfs a different challenge. When you look at something, how do you pick now? Itfs amazing what you have done in the Matrix films and itfs something that will live on forever, itfs a part of history. B.L. Now you are shooting Constantine. B.L. Itfs based on the comic hero Hellblazer, how cool is that? B.L. Hopefully??? It will!
From: DVD Answers (The Detail is here) Matrix Revolutions DVD
Title: Matrix Revolutions
Further Details 2.40:1 Anamorphic Widescreen Presentation
From: Insite Atlanta (The Detail is here) http://www.insiteatlanta.com/cleb3.aspNO NEO-FIGHT KEANU REEVES PROVED HIS STAYING POWER LONG BEFORETHE MATRIX MADE HIM HOLLYWOODfS HIGHEST-PAID ACTOR. BUT WHAT WILL HE DO FOR AN ENCORE? by Ben Beard After faltering for a few years in commercial shlock like Sweet November, A Walk in the Clouds and Chain Reaction, Keanu Reeves reinvented himself as a bone-fide action star, becoming the highest-paid actor film history with the Matrix trilogy. But what does gThe Oneh do for an encore? In his latest film, Somethingfs Gotta Give, Keanu plays against type as a romantic doctor who falls for a much older woman (Diane Keaton), only to fight for her attention with one of his patients (Jack Nicholson). We recently met up with the 39-year-old actor in a crowded press conference, in which he talked about falling for the older woman, working with two screen legends, and exactly where his erratic career will go from here. gThe beauty of older women is life experience,h the surprisingly serious actor says in his clipped, laconic manner as he sits down. His jet-black hair, high cheekbones and signature five ofclock shadow cut a striking figure, and itfs easy to see why he landed his latest role. His deep, soft voice is often hard to hear, and many of the reporters present spend the majority of the interview leaning forward, craning to hear his almost mumbled words.A film junket press conference is a surreal event. Reporters from all around the world crowd into oddly shaped rooms and jostle with each other for a seat close to the gtalent,h many of them ultimately asking asinine questions that mean nothing. Such as when a reporter blurts out from the back, gYour character, Julian, is a confident character. Where do you get your confidence in real life?h Keanu leans forward and says with mock seriousness, gFrom within. You know, therefs a book I once read... No, I was playing a character. I thought he was well-rounded and grounded, and [portraying that was] the obligation of the role.h The actorfs remarkably youthful appearance belies his age. How does he stay so young? gI have a picture in the attic,h he says, smiling. How does he plan to spend his fortieth birthday next year? gFor my birthday, Ifll either be really alone, in the middle of the desert, or Ifm going to have an outrageous party.h One journalist notes that while Somethingfs Gotta Give has a lot of humor in it, Keanufs character mostly plays the straight man. gI have a couple of jokes,h he says in response, gabout Viagra, and others. But to a certain extent, yeah, Ifm the straight guy. But thatfs the character. Ifm a cardiologist, dealing with matters of the heart. I had to support whoever was around.h Playing an ER doctor requires some credibility. And although it seems difficult on paper to imagine Keanu as a doctor, he ultimately pulls it off. gYeah, I did some ER research at the Southhampton Hospital,h the actor admits. gI talked about bedside manner, stethoscope techniques. Hung around ER rooms...h In person, Reeves exudes an unusual sense of calmness that is sometimes confused for dullness. He seems centered, at peace with the world, very Zen in a way. He seems content, uncynical and easy-going. The ego that is so apparent in many other Hollywood actors is noticably absent. Talking to him feels like chatting with a devout neighbor who practices some esoteric Eastern religion. In his latest role, Reeves had the daunting task of acting opposite screen legends Jack Nicholson and Diane Keaton. Although Keanu is a household name, it seems like it would be difficult not to get starstruck when working with such big names. gWhen I met them,h he recalls, git was pretty great. And, yeah, it was great to be able to communicate my enjoyment of their work. But when you go to work, you got to work. The surprise was, I didnft know they were that good.h He pauses a moment. gDiane and Jack are both remarkable people, very gracious. People of great humor and sensitivity. When I came onto the set, they were very welcoming.h And what did he take away from working with them? gThe ease and grace and hard work they put into it, while making it all look effortless. The knowledge of the camera, and storytelling, and the way they reveal their characters.h In the film, his character falls for Keatonfs right away. gHe has enjoyed her work– her plays– and then as things sometimes happen in life, he just kind of has that feeling,h Reeves says. gThe scene right before he asks her out, hefs watching her talk on the telephone. Hefs enamored with her smile, and the way she moves.hWhich begs the question, has Keanu ever dated an older woman? He smiles coyly. gIfve never dated an older woman, but...h He trails off, with a knowing grin. Asked to describe the film in his own words, Keanu answers quickly. gItfs a romantic comedy in the tradition of the best Hollywood romantic comedies, with remarkable performances by Jack Nicholson and Diane Keaton. And the script by Nancy Meiers is touching, moving, smart, and funny as heck.h Yet another inane question gets asked– are you romanic in real life? gOn good days,h he says good-naturedly, but doesnft elaborate. And what, one reporter wants to know, is the craziest thing hefs ever done for love? gMy friends would probably say, eFalling for that girl,fh he answers in typically enigmatic fashion. A longtime bassist in the band Dogstar, Keanu was inspired by and brought up on punk music. Strangely, itfs when talking about music that the actor is at his most animated. gI was a lucky kid who heard The Ramones, Violent Femmes, the Clash, Exploited, Joy Division... My worlds got a lot better. I found something I could express myself with– music I vibrated to.h With the Matrix series finally drawn to a close, Reeves is excited about moving on to his next film project– an adaptation of the Vertigo comic Hellblazer, about a chain-smoking, hard-drinking, foul-mouthed magician who makes enemies with Heaven, Hell, and a horde of demons and other diabolical creatures. When asked about the filmfs progress, he says, gWefre going pretty well. Wefre six weeks in.h And how does the source material help him to tackle the role? gI look more at the shapes of the drawings, and the atmosphere. But I mostly just use the script.h Like many actors, Reeves is so well-known that fans and paparazzi sometimes hound him. Does being a celebrity ever become something of a social handicap? gWell, itfs important for me to move through the world, so sometimes, yeah. But only around premieres does this seem to intensify.h Asked to remember the first time he was recognized as a celebrity, Reeves recalls, gI was going to the cinema in Los Angeles. I went into an ice cream store, then I went to pay, and the guy behind the counter said, eRiverfs Edge!f I smiled a little, and tried to pay again. He said, eNo, man, Riverfs Edge!f And I got free ice cream. That was really cool.h The final chapters of The Matrix trilogy (which were trashed by many critics, but still proved one of the yearfs biggest cinematic events) have finally come and gone. Neo is dead, Zion is saved, the humans stuck in the matrix will be given a chance to leave, and a lot of people– Reeves included– made a TON of money. So how does he feel, now that the trilogy is finally over? gI had such a great time,h he says fondly. gSome of the best days of my life.h Fans were notoriously divided over the sequels, some really loving them while others scoffed at the poor quality of the storytelling and scripts. How did Reeves feel about the fan division? gI didnft know they were,h he replies. gBut people are divided over every piece of art. But I hope fans see the movies and realize how much fun they really are.h After embarking on a new iconic character from the Hellblazer comic, fresh off of sharing screen time with Jack Nicholson and finishing the last Matrix film, Keanu Reeves is a star who seems at peace with his place in the Hollywood universe. The question of whether hefll have a career after Neofs demise seems to have been answered. Now, if he could just speak up...
From: Cinema Online (The Detail is here) Keanu Reeves Interview
Keanu Reeves is a cult symbol of his own making. How fitting then that this coolly introspective heartthrob has become the iconoclastic symbol of THE MATRIX, one of the most ambitious film projects in recent history. First released in 1999, THE MATRIX captured the public imagination as much because of its philosophical and mythological content as for its high-octane, balletic hand combat sequences. Today, reports from those close to the production of the two new MATRIX SEQUELS filmed back to back in Australia last year suggest that Keanu Reeves has reached a level of assurance as an actor which has left fellow cast and crew members deeply impressed. It was Reeves's performance as Thomas Anderson, a.k.a. Neo, the messianic warrior fighting a vast conspiracy which enslaves humanity, which helped make THE MATRIX one of the most compelling films of the nineties. Now, audiences are poised to see Reeves revive the mythic cause in THE MATRIX RELOADED, the second film in the trilogy written and directed by Andy and Larry Wachowski (BOUND), which will conclude with the release of the third installment in September (actually November - ED). Reeves heads up a cast which sees Laurence Fishburne return as rebel leader Morpheus, Carrie-Anne Moss as Neo's the leather-clad ally Trinity, and Hugo Weaving as the evil Agent Smith. In addition, Jada Pinkett Smith, the actress wife of Will Smith, will play a key role as Niobe, a resident of the planet Zion who doubts Neo's status as the "chosen one." After nine months of arduous martial arts training and rigorous filming, how does Reeves assess his experience as the point man in this bravura film trilogy? "It's been a very exacting and involving process," says Reeves 37. "It's something which you literally give up a year of your life in order to be part of, which can be tough, but it's been a great experience for me and for everyone else. Doing two films back to back like this is an art in itself, because you're often doing scenes out of order and from different parts in one or the other film, and that means you can't relax for a minute. You've got to be very aware of where your character is, at what point in the story, in what context, and so on. I'm also sure that people who remember what the first Matrix was like will appreciate that this is not the kind of story which makes it easy to know who and what and where you are in the first place!" Reeves' reference to the unsettling mythology of the MATRIX tirlogy leaves little doubt that audiences will be treated to a heightened sense of the dislocation, alienation, anxiety and dread which has made the second installment one of the most eagerly aniticpated films of its kind. Even fans of the Star Wars and the Lord of the Rings sequels would be hard-pressed to make the case that the hallucinatory atmosphere in which THE MATRIX operates makes it virtually impossible to predict how this particular saga will evolve. That's especially true because of the ultra-tight secrecy which the Wachowski brothers imposed on their set. Cast and crew were legally obliged to keep plot details absolutely confidential except for the vaguest indications about how the story would evolve. "I think that if you attempt a project like this, you've got to keep as much of the story under cover," explains Reeves. "Even if you tried to explain some plot points to the press, it wouldn't necessarily help you develop a clear picture of how the story evolves because this isn't a linear kind of thing. No one outside of the Wachowskis really understands how the story comes together in the end because there is so much work involved in the editing stages when all the CGI sequences are integrated. I'm as excited as anyone else about what the [two MATRIX sequels] are going to look like." One of the elements which made THE MATRIX so successful in 1999 was precisely the mythic ambiguity inherent in the plot. Inspired by French philosopher Jean Badurillard's dense work, "Simulacra and Simulation," THE MATRIX fascinated audiences, particularly students of the dot-com era and the cyber world, with its depiction of a stark reality in which the human race is enslaved by an alien insect species which keeps us in the dark by means of a computer-generated virtual reality. Nothing is as it seems, and only a few rebels - led by Morpheus - have been able to escape this mass cyber-psychosis. "I think the thing which intrigues people about the story is that the Wachowski's have invested so much into philosophising about identity and truth and a quest for understanding. Questioning absolutely everything has always been a part of my nature, so I understood where my character was coming from. I'm not nearly as skeptical as Thomas, but there is definitely a lot of him in me and a lot of me in him. (THE MATRIX) is radically different from anything that's been done before." "They play on the fear and the danger that as our technology gets more advanced, it tends to overwhelm us - we become part of a process that has taken on a life of its own. There is a whole Orwellian Big Brother element to the story." Reeves was very open to the philosophical probing that acts as a leitmotiv in THE MATRIX. Having spent most of his adult life living out of hotel rooms and film sets - he only recently bought himself a house in Los Angeles, the first time he ever had a permanent residence - Reeves is the kind of bemused loner who finds himself, as so many younger people do today, drawn to the film's cool absorption in meaning and mythology. "People also have an innate desire to speculate on reality - on what we should believe about life and how we function in the world. The Wachowskis are trying to tap into our curiosity and our need for a more spiritual and mythological understanding of what it means to be alive. I think all those elements explain why people have responded to (THE MATRIX)." Many critics cited Reeves' performance in THE MATRIX as the kind of enigmatic star-turn which best captures the Canadian actor's (he was raised in Toronto and dreamed of being a professional hockey player - ED) inherently inscrutable personality. For actor Laurence Fishburne, Reeves outdoes himself in the sequels. "Keanu is a very good and commited actor," says Fishburne. "He keeps a lot to himself and he only likes to give you glimpses of who he is and he's got some flak for that which isn't justified and kind of misses the point. There's a mystery to him which adds an underlying intensity and curiosity to his work, and Neo is almost like a revelation when it comes to seeing what he does with a very difficult role. I think there's an incredible fascination to the kind of understatement he brings to the process (of acting). That's what makes him a star." As far as Reeves himself is concerned, acting is essentially a process of discovery and self-awareness, and he believes that his movie career has been a strange parallel universe to his own personal growth. He sees his work as having been an interesting way of exploring emotions and issues which one isn't always anxious to face. "In acting, you're constantly discovering new feelings and thoughts and exposing yourself to them," said Reeves. "I guess it could be considered a kind of psychotherapy. As an actor, I can tell you a story you'll listen to. And maybe it won't just entertain you; it might also teach you something. I think film has the power to change your life if you want to let it." Aside from the innovation in the actual storytelling, with its odd fusion of myth, phantasy, and philosophy, THE MATRIX also represents a distinct technological revolution in filmmaking on several levels. The Wachowskis, long-time fans of Asian kung fu films, took the Chinese technique of wire-fighting and extended the art form a few steps further. "We wanted to break new ground by introducing the Asian cinematic technique of wire-fighting into an American action film," says Larry Wachowski. "This entails hooking the actors up to wires and then manipulating them so that they can climb up the sides of walls or perform acrobatic flips and in this way you can create this balletic style of hand-to-hand combat." The wires are later erased in the editing room with computers, helping create the impressive illusion that the actors are actually gliding through the air, executing impossible flips and somersaults, or running along the sides of walls. Advances in computer graphics software have also allowed the Wachowskis to ramp up the kinds of special effects which were already being hailedn as cutting-edge and revolutionary in 1999 when the first MATRIX hit the screens. "The computer is allowing us to do things that we never dreamed we could do before," explains Joel Silver, producer of the original MATRIX and now the sequels. "The bullet-time sequences (in The Matrix) were in the embryonic stage of what the computer can do. Now it's at such a level that (the Wachowskis) can do anything they want." "THE MATRIX is about all of us, about our role in our lives and what our lives are about," adds Silver. "The Wachowskis are geniuses because they've come up with a concept of a system, which is everywhere we're going and where we have to stop. It's a treatise on our times and where we're going and how do we not go there." For Reeves, his return to the MATRIX films meant going back to the intense physical training regimen which was required to get the actors into the kind of shape necessary to perform the fight sequences at a high level. "When I arrived on the set for the first MATRIX, I was in pretty bad shape because I had had a neck operation and it took me a while to get to where I needed to be physically," recalls Reeves. "This time I arrived in Australia (where the two sequels were shot back to back) in good condition and so it made the training process easier. I love being forced into a position where I've had to go to the limit in terms of my physical endurance and strength." Adds Reeves: "If you're going to make the fight sequences look as real and as artistic as the Wachowskis have choreographed, then you have to get your reflexes and your body into almost perfect synchronicity. I was always trying to push myself one level further, I kept on asking to do another take to get it perfect." In the meantime, Reeves has been undergoing an ordeal of an entirely different nature. In the past few years, his sister Kim's battle against leumkemia has grown more serious, and Reeves left the MATRIX set several times during last year's nine-month shoot to help tend to his sister and support her. This experience has given the introspective Reeves an even more sobering perspective on life, and removed the last shreds of innocence from a man often described by friends and fellow actors for having a strangely impenetrable soul. Any insight into Reeves' true persona is a speculative venture at best. But a statement he himself made a few years ago sheds some interesting light on the man's perspective on life. "Acting allows you to escape [your worries and problems], and fortunately or unfortunately, I'm not able to accept that suspension of reality for very long," said Reeves. "There's always something that draws me back. Sometimes I'm only truly happy when I'm sitting by myself at some empty diner. That's where my head feels free and I can just sit back, smoke a cigarette and stare out the window."
From: Cinema Online (The Detail is here) Keanu Reeves Interview
Let's begin. Q. So what are your feelings now that you're at the end of the trilogy? Are you relieved that you won't have to talk about Neo anymore? No, I love talking about Neo. I love talking about all things Matrix. It's exciting. It's exciting that Revolutions is coming out and I just had a really great experience making this film. The memories of making them and who I met and how they've made a difference to my life. Q. Do you think people will associate you with this character like they do with Sean Connery and James Bond? No, I feel that I'm a part of the Matrix and if there is anything, it's that all the actors are a part of the Matrix. We're just actors performing a piece. And for me, it's not like how I think of Harrison Ford as Indiana Jones. Q. Do you like people thinking of you as Neo? No, I don't really come into contact with it that often. Once in a while I'll meet people on the street and they'll ask me about the Matrix. I always have an answer, whether it's right or wrong doesn't really matter. Q. At the end, the Oracle says to the little girl something about seeing her at a later time - did you cringe at that because it seems like the Wachowski's are setting up to do another one? To me, I got something else out of it. I felt like it was more about the idea of Neo than the literal personality or person - and when the architect says, Well how long do you think the piece will last? And she says, 'As long as it will. As long as it can.' And with that, in the cycle of life another hero will have to come along, or someone like Neo that all of these things will perhaps repeat to a certain extent. Q. So that means there's no end? It's like life, huh? You know what I mean, you come to a place and then at that moment you change. But how you are in each moment develops as well. I don't think it's a cheap shot, like, now we'll do number four. To me, I was.... Q. Would you do it? There's no room for it. Q. What has changed in your life from this experience? I got to learn a lot about wire work and doing action sequences and working with weapons physically. Q. Were you impressed with yourself that you could do all these physical things? I was grateful to get a chance and it's a way to participate in the character. If I can do it then you don't have to put the stuntman in, the camera doesn't have to be put farther away, you don't have to edit, you see me perform my role in places where sometimes the actor doesn't. So I feel that the identification of the character maintains the intimacy with the character that you don't get sometimes with a stuntman. Q. And spiritually? Spiritually, well, coming out of the experience of making these films it's certainly broadened my aspect of considered life and has influenced that. Q While you were working on the two sequels you also had to cope with some serious personal troubles. Can you elaborate? The first blow came when my sister revealed that she was suffering from leukaemia. I've been spending a lot of time looking after her. Then came some good news - my then girlfriend Jennifer Syme announced she was pregnant. However, after feeling no movement for a while, an ultrasound scan revealed that our child whom we were going to call Eve, had died in the womb. Q This must have put a great strain on your relationship? It did and we decided to break up shortly afterwards. However, after talking through our problems we decided to give it another go, but Jennifer was still struggling to come to terms with Eve's death and she began seeing a doctor for depression. Then, last April [2002], after a night out in LA Jennifer was killed when the jeep she was driving careered out of control and ploughed into three parked cars. Q How did you react to such a terrible tragedy? A I was devastated, of course, and threw myself into my work, and just kept myself to myself. I had an apartment suite at an exclusive hotel, and I didn't much feel like mingling with anybody. I was on a kind of automatic pilot for a while, and I would just turn up, work and then go back to the hotel. Q. You seem as though you are absolutely exhausted. That must be hard being such a private person... Well, I'm working on a film right now, so I've been working for a month on a film so tough week in the sense that this is my Sunday and I'm working on a Sunday. Q. This film addresses subjects about life - did you find answers about life? So much. I worked with lovely people: Carrie-Anne Moss, such an emotional warrior who tries to understand everything, and Lawrence, he has grace and such understanding about life and Hugo Weaving who's such a gentle soul and the considered life of the Wachowskis and to play this character that ultimately comes with such a positive message and to play such a noble character in the films themselves, are very ethical. I think they're kind of positive and to be a part of that is a great experience and something that you can aspire to and hopefully it's kind of hard once you know something, if you make a mistake in your life emotionally, you become conscious of it. When you do it again you know you're making a choice to be that way and that's when it gets really interesting. Q. Comparing this to something like the Terminator - is there a similarity: at war with the machines? I don't know. I guess they could both say that there's a fear aspect of technology. Q. In real life Schwarzenegger is going into politics - what are your feelings? Well, I wish him all the best. I hope that whatever he does, he brings a better hope to California. Q. You're always friendly and never say a bad word about anyone - where do you get all this positive energy from? It's easy. Q. Really? You never get angry? Of course I do. I'm very rude sometimes. Q. Do you remember the last time? You don't want to know (laughs). But... I don't know...where does it come from? I don't know. Q. How is your relationship with computers? Uh...great (laughs). Q. Do you have one? I don't. Q. You don't have a computer? I don't have a computer. I don't post on the internet. I don't have a secret identity. No email. Q Can you talk about working with the Wachowskis? Yeah, well, the way the Wachowskis work and the kind of ethos of the piece, things you have the in-camera live action so you're always generally acting with the other actors in the scene. If not, you'll go to the green screen element whereby they'll either verbally describe as much as they can what is surrounding you or give you an element to look at- whether it's a piece of tape or whatever, something to reference or they'll show you something which is called previsits which is a previsualisation which is generally animated or computer generated animation of a sequence, meaning you'll have characters and they'll show you the camera angles or what the sequence is about so you'll always have some kind of relationship to the piece that you're doing. it's not like, 'Okay, move your hand left. Okay, we got it.' You always know why you're moving your hand left and what the emotional or dramatic or responsibility you place as an actor in terms of gesture. Q. Fame has to be more unpleasant than pleasant but the upside is that you can do good things for people. What has been one of the best things about it? There have been many situations that I hope I've helped like friends, family, I've helped build a school, I give money to charities, to lend my voice. I did a voice over for a documentary on global warming. They wouldn't have asked me if I wasn't famous and so if you mean things like that, yeah. Q. You're 39 - it's your last year in your 30s - how do you feel? It's terrible, isn't it? (laughs) Q. How do you feel about turning 40? I don't know. I remember when I was turning 30 what it was like and it was going to be this big thing and when I turned 30, I thought, 'Oh, It's not so bad.' But I don't know about 40. (laughs) Q. Has there ever been an alternative to acting? It's too late for me now. When I was 30, maybe. Q. Like being a musician for example? No, I never really considered it. Ever since I was 15 I've always wanted a career as an actor. Q. They say men don't mature until their late 30s or 40s - does that mean you've reached a new stage in your life where you may be more settled and grounded? Hopefully. Q. Family? Yeah, if I'm lucky. It would be great to marry but this work means I am on the road a lot. When I'm working, I think only about work. Girls have got close but only very rarely. Q. Most movie stars hide behind their sunglasses but you can't because of your character - how can you hide? I try not to hide but I'll still take a secret passage if I have to. Q You appear to dislike the trappings of superstardom. How do you like to live? I get a great kick of riding around on my Norton motorbike and playing with my rock band Dogstar. Simple tastes ... Q You now earn something like $20 million per film and on the Matrix sequels a percentage of the profits - what do you do with your wealth? I have people who look after it. I make sure my family lives well. Most of it just goes straight into the bank. I don't need a lot, except when I'm travelling, and I like to buy a bottle of fine Bordeaux once in a while. It's nice not to have to worry about the rent or paying your bills but, like the cliche says, money doesn't buy you happiness though it does buy you the freedom to live your life the way you want to.
From: Super Hero Hype! (The Detail is here) Constatine new photos
The picture for Constantine, starring Keanu Reeves and due out on September 17th, is available here. The studio says: Based on the DC-Vertigo comic book Hellblazer, Constantine is a science fiction suspense drama about renegade occultist John Constantine (Keanu Reeves) who has literally been to hell and back. When Constantine teams up with skeptical policewoman Katelin Dodson (Rachel Weisz) to solve the mysterious suicide of her twin sister, their investigation takes them through the world of demons and angels that exists just beneath the landscape of contemporary Los Angeles.
From: Sydeny Morning Herald (The Detail is here) Village faces another court battle with investors
January 7, 2004 - 12:04AM After a year of battling disgruntled investors, former employees and business associates in the courts, Village Roadshow is being sued by another group of investors, this time in relation to box office hit The Matrix. The company said yesterday a group of investors associated with members and former members of accounting firm KPMG had taken action in the Supreme Court of Victoria over $23 million worth of tax leverage investments in a film partnership with two Village subsidiaries for the production of the science fiction film starring Keanu Reeves. The company said the Australian Taxation Office considers the partnership, Groucho II Film Partnership: Matrix (Production), to constitute a mass marketed investment scheme. The investors are claiming Village subsidiary Medborne Ltd breached the agreement in various respects, "including in relation to accounting issues and a failure to consult with the KPMG partnership representative". "The company and its subsidiaries intend to vigorously defend the proceedings," said Village. It's not the first controversial tax arrangement connected with Village. In 1998, another group of investors funded the marketing of The Matrix. The prospectus offered a minimum guaranteed return, a share of any net profits from the distribution and marketing of the film and the possibility of tax advantages. In return, the manager and promoter of the prospectus, Majestic Film Management, received $1.45 million in fees and an unspecified "pecuniary benefit" from a Village Roadshow subsidiary. Village got millions of dollars, virtually interest-free, to help defray production costs. Five years down the track, the tax advantages have fallen through and investors are crying foul about how the film's profits have been calculated. Village is also being sued for $148 million by former executive Peter Ziegler for a termination payment. In December, Village lost an appeal in California of a $US32 million ($43 million) judgement brought against its US subsidiary by disgruntled film producers. Village is appealing that decision. Meanwhile, its buyback was derailed in November when a mysterious German company, Boswell Filmgesellschaft, complained Village misinformed shareholders about their voting rights. Wendy Frew
From: Pacific News Service (The Detail is here) 'Lord of the Rings' vs. 'Matrix': Patriarchy vs. the Rainbow
Commentary, Andrea Lewis, Editor's Note: The last installment of "The Lord of the Rings" presently rules the box office, but to the writer, it's an old vision of white patriarchy. She prefers the "Matrix" series' multi-racial worldview. The "Lord of the Rings" and "Matrix" trilogies have defined early 21st century cinema more than any other big-screen flicks. But as critical acclaim has increased with each new hobbit-filled "Rings" installment, the "Matrix" films have fallen from favor. "Return of the King" is hailed as "glorious," "a triumph," and "masterful," while "Matrix Revolutions" is ridiculed as "dismal," "pompous," and "underwhelming." Like most, I was entertained and awed by the artistry and technical achievements of "The Return of the King," but by the end of the film's 3.5 hours I thought the final chapter should have been dubbed "The Return of the Patriarchy." The "Rings" films are like promotional ads for those tired old race and gender paradigms that were all the rage back in author J.R.R. Tolkien's day. Almost all of the heroes of the series are manly men who are whiter than white. They are frequently framed in halos of blinding bright light and exude a heavenly aura of all that is Eurocentric and good. Who but these courageous Anglo-Saxon souls can save Middle Earth from the dark and evil forces of the world? On the good side, even the mighty wizard Gandalf the Grey (Ian McKellen) is sanitized and transformed from the weed-smoking, rather dingy figure we first meet in the "The Fellowship of the Ring," into Gandalf the White, who, by the time of "Return of the King," has become a powerful military leader complete with pure white hair and an Eisenhower attitude. Say what you will about the convoluted storyline of the "Matrix" trilogy. At least those films give women and people of color some characters they can relate to. From its earliest scenes, "The Matrix" flips mainstream Hollywood's minority representation manual on its head. A multi-culti group of hackers dressed in black leather and sporting funky hairdos are our heroes; Secret Service-type "agents" in suits and ties are the bad guys. Neo, the trilogies' central figure, is played by mixed-race actor Keanu Reeves. His savior and mentor is Morpheus (Laurence Fishburne), a powerful leader who also happens to be a black man. The wisest figure in "The Matrix" is The Oracle, a warm and witty African American woman. The films are also infused with a strong sense of Asian style and culture, exemplified by the character Seraph (Collin Chou), the Oracle's protector, who is both a martial arts expert and Buddhist meditation practitioner. Physically powerful female characters also rock and rule in "The Matrix," led by the high-kicking Trinity (Carrie-Anne Moss), the Emma Peel of the 21st century, daring pilot Niobe (Jada Pinkett Smith) and military wife turned fighter Zee, (played by Marvin's daughter Nona Gaye). Most of the really bad guys in "The Matrix" are Eurotrash, including the very snobby Merovingian (Lambert Wilson) with his French accent, the dread-locked, very British albino twins (Neil and Adrian Rayment) and the Oracle's evil counterpart, The Architect, (Helmut Bakaitis), a rather stuffy and pompous white guy with white beard and white suit who reeks of imperialism. By comparison, three women play minor roles in "The Lord of the Rings": the powerful elf Galadriel (Cate Blanchett), the selfless Arwen (Liv Tyler), who is willing to give up immortality for the man she loves, and Eowyn (Miranda Otto), the niece of the king who must disguise herself as a man to go into battle. Beyond this threesome, the rest of the women of Middle Earth are largely an unwashed, helpless mass who, in the face of a virtually hopeless battle against overwhelming enemy forces in "The Two Towers," can do little more than look anxious and cower with their children in fear. Plenty of critics got lost in the complex post-modern philosophy of "The Matrix," but a few noted its more important message. As the New York Times said of the second Matrix installment: "'Reloaded'" has one of the most excitingly subversive and radical points of view ever seen in a major motion picture -- a postmodern purview that accords philosophical ideals from people of color equal weight." "The Return of the King" is a fantastic finish to a memorable film trilogy, but on a personal level, I was much more satisfied with the conclusion of "The Matrix" series. For once, the major female characters in an action film aren't whimpering and waiting to be rescued by some steroid-laden Schwarzenegger-type in the end. For once, all of the major characters of color aren't lying in a heap of corpses as the credits start to roll. To my African American female eyes, the biggest difference between "The Lord of the Rings" and "The Matrix" isn't swords versus automatic weapons, or low-tech versus high-tech. It's the patriarchy of the past versus the Rainbow Coalition of the future. PNS contributor Andrea Lewis (jazzdiva@earthlink.net) is a San Francisco-based writer and co-host of the "Morning Show" on KPFA-FM 94.1 in Berkeley, Calif.
From: About (The Detail is here) Keanu Reeves Interview - Matrix Reloaded
Part One - Salary and fight scenes Rumors have been flying long before The Matrix Reloaded hit theaters. Keanu Reeves was forced to give up part of his backend deal on the films in order to allow the film to be completed on budget. A CGI Neo completes a lot of the filmfs impossible stunts. Well, both of those are kind of true, but Ifll let Reeves explain. Keanu Reeves probably doesnft need to do press. We all know who he is, we all know what The Matrix is and wefd all see it anyway. So Ifm sort of grateful that he bothered to talk to us. And what a talk it was, as Reeves opened up about the complex scenes and themes in the new film. Did you really give up part of your salary to help the production? What I did was I put part of what was given in my contract to create a pool, so that other people who donft usually do profit participation could see some money. Thatfs awesome. Why did you do that? Because I wanted to. So, what was the toughest fight scene? There is a fight where Neo confronts Smith and Smith confronts Neo. Actually, itfs Smith confronts Neo. [The 100 Smiths fight youfve seen on the trailer.] And we would just go through the fight every day, the three stages of the fight, and everyone was so supportive and helpful. There is this one scene where Neo gets grabbed by two agents and I do a back flip and kick two guys in the head, and flip back and then the two guys get thrown back. Well, those guys got pulled into the floor 21 times. And every time I said I would like to do it again, I was like, "Tim, you okay?" Hefs like, gYeah, man. Letfs go.h Laurence said youfre too hard on yourself. Why are you such a perfectionist? Well, just because itfs important. It was my job to do whatever the brothers asked me to do. So, Ifm just trying to do that. How beat up were you by the end of it? What happens during the first four weeks of training, because it's everyday, you're basically tearing micromuscle tissue every day, so you get inflammation. And I'm not 22 and bouncing around, so ice and Epsom salts help the recovery, and sometimes because you're stretching two hours a day, kicking and stretching and kicking, you get all those tears and stuff and inflammation. I get cramps and things like that. So cold water tends to help alleviate that so you can sleep or walk up stairs. Find out more about the physical demands and the philosophical issues on page two. Part Two - More fights and philosophy Did you enjoy doing all the physical work? I didnft like that when I was doing it. I just kept thinking this is what I have to do. Once I threw my last kick and my last punch it was like, gOkay, we did it. I hope I did it well enough." Recovering was a little harder. This one was a much longer time. I had fights interspersed over a long period of time, so in my time off I was always training and learning another fight. I've done five fights in the second one and I have more moves in the fight with the Smiths than I did in the whole first movie. This one was much harder. There was much more involved. It demanded a lot more. In the first one I could do most of it. In the second one, if you take out the CGI aspect of my fight with Smith, I am doing probably 92% of my fighting. Not the landings, not the crashes, but the fighting. Some of the things I had to do were a little more advanced, some of the multi-fighting and the weapons. It was just basically practice and learning. Because of the experience of the first one, I had some body memory. I knew what I was going into and my body, I could pick up the choreography quicker. And I knew where I was in wirework. What distinguishes this from the first one? There is much more dialogue. One of the unique things that the brothers have found a way to do is they will give you such an intense scene of dialogue, say between Neo and the architect, then theyfll give you a fight scene. Then theyfll give you maybe the scene with the Merovingian talking about the power of why and cause and effect, and then theyfll give you a 13 minute car chase. Andrew Wachowski would say, "Oftentimes with movies, you can sit through bad dialogue to see the spectacle, so you can sit through good dialogue." Which I agree with. Itfs a very ambitious film, Reloaded, but I think the brothers pull it off. It wasn't as simple as gbigger is betterh but there was an ambition for realizing the vision that the brothers have created. I think they did that. Yeah, there's something to think about. I also think the brothers repeated certain motifs and they've given you certain touchstones, like the opening with Trinity. She goes into her move. Morpheus has his move. There are signature things they put in, but it is something to think about. I'm just trying to live up to what the brothers, Andrew and Larry Wachowski, want. I'm trying to realize their dream. That was the pressure, I thought. To be able to do what they wanted me to do.Does it bother you to have a CGI double of yourself? No. It doesnft bother me. I wish I could do what my CGI Neo does. It would be fun to fly. The new thing is that it's going to be a representation that you think will be real. The impulse for this technology is to make it real but not real. That is about, then again, for humans to try to create something natural, which is kind of odd. There's some kind of impulse to control nature, to gain control. And from the directors its like, gHo ho ho, I can control you!h So where that will go for the actor, I don't know. My kind of blanket thing is that it's going to create the cult of the real, that it's going to be something like this other kind of artificial thing. I mean for an actor now, other people pick your performance. In those takes, an editor and a director are basically picking your performance. But you've acquiesced by signing your contract and your appearance to provide whatever they decide to cut. In the digital aspect, you're no longer part of the process. You haven't participated in what they're editing together. I mean, already in Sweet November they put artificial tears in my eyes. So, for me it's like, gOkay, let's start thinking about it. If you do digitally alter my performance, what I want to have is performance approval.h
From: BookLA (The Detail is here) Interview
Q: Matrix 3 is also called Revolution. Jada Pinkett Smith says we need a Revelation before a Revolution. Would you agree that we need some kind of awakening in the world today? Keanu: Yes, I think thatfs the point! But the Revolution is a non-violent Revolutionc Q: Does the world need a new big idea or faith? Keanu: I donft know if itfs faith, but certainly Neo learns about the struggle for life from from the machines, from the humans, from the people in the Matrix. At the end he is just asking for peace. Itfs all about compassion. There is no us and them, and if thatfs the case it means you donft have to enslave or fight. Q: Are you going to carry this character with you for the rest of your career? Keanu: I donft know about the rest of my career, but certainly in my life. Itfs close to my heart. Q: Are you excited by the release of Matrix 3? Keanu: Sure. I love everything about the Matrix, the artwork, itfs so stylish, one notch above, just very coolc Q: How do you feel about the violence in the Matrix? Keanu: Itfs good fun! Itfs just movies. Itfs spectacle. Ifm not interested in seeing a snuff movie, but a good action picture, pop-corn action, itfs always fun. Also, beyond the spectacle, there are ideas in The Matrix films, which is something I like. Q: How do you think you character differs between the second and the third movie? Keanu: In the second movie he is still figuring out things with the help of The Oracle. But in the third film, Neo is now making his own decisions. He is more connected to himself. Itfs the notion of gknow thyselfh. There is a maturation to the character. He knows a lot more, he is more experienced, but still with fears and hopes. He also knows a lot more about the outside world. Before, he knew strictly about the Matrix, now he knows about Zion and the world of the Machines. And he goes back and forth between Zion and the Matrix, and to the Machine and again to the Matrix, and then to the Machine City. So he is the only character who meets all the different entities of the films. And also his commitment to himself, and his love for Trinity developsc Q: What do you think about the Conclusion of Matrix? Keanu: I think itfs great and I thought it was really moving. Itfs incredible to see my character, Neo, have so much compassion and consciousness and maybe have it extend to other characters. Itfs a very powerful, if not the best message which you can havec Established since 1st September 2001 by 999 SQUARES. |
