Matrix 4 Keanu Reeves: Why did the matrix change color in resurrection?

During the release of Matrix in 1999, viewers were able to discover a strange virtual world that is dominated by the green color. Thus, the filmmakers Lana and Lily Wachowski, accompanied by the leader Bill Pope, clearly distinguished between the real world and its dark colors and matrix, the prevailing green.

This choice of lighting continued in the overcrowded and revolutions of the matrix, the characters always develop in the world of the same dummy. In the resurrection, matrix regeneration, charging, resurrection. This is very different from what we know 20 years ago.

Change of visual approach

Lana Wachowski has decided that this new matrix does not dominate green, but it shines in shades, the opposite view will get the original trilogy. The filmmaker, therefore, does not recall Bill Pope, who was also bitter on the turn shot by Opus 2 and 3: “Everything that was good in the first movie was bad at the bottom.”He chewed in July 2020.

The dominant color of the matrix was green because the old computers showed the green text on the black background.

The director then hired John Tol and Daniel Masseys, a duet who knows well that he worked with them in Cloud Atlas, Jupiter Ascending or Sense8.

“The dominant color of the matrix was green because the old computers showed the green text on a black background. So the matrix was green”Explains the massage in the first columns. For Easter, Lana Wachowski asks for photography directors to inspire artist Le Caravage, known for her masterful style, living lights and darkness.

“We went green to look for these wonderful colors. We wanted to create a beautiful reality that does not exist. A beautiful vision. The story is no longer monochrome, it develops like a rainbow. But all people”Analysis of Daniel Massalization.

We went green to look for these wonderful colors. We wanted to create a beautiful reality that does not exist.

Matrix style revolution

The latter also took over the Matrix Resurrection Image only after John Tol’s departure, for the causes of health problems in his family. After a very pragmatic visual approach, the story and very controlled in the original trilogy, Lana Wachowski wanted to turn 180 degrees.

Thus, the director and its leader supported improvisation: spontaneity when choosing frames and the use of natural light was the credo of two artists.

“I worked for a few days Gear runners Then on the cloud satin. This was probably the first time when Lana and Lily Wachowski were shot in real decorations “Remembers Masazaks in an interview Indusier.

“They were a little worried about the lack of control, but eventually they realized that they liked the quality of natural light and the ability to take unique moments. They also realized that we had to make happy dangers when they represent – you have to be – you have to be ready to enjoy the moment when something is unprepared and good for us. ”It defines.

So Lana Wachowski replaced her staging under the guidance of Daniel Masake. After their cooperation at Sense8, the filmmaker completely embraced the photo of his director in the photo, leaving him in a card blanche on the visual style of Matrix 4th.

Companion duo

“He said he wanted to use a steadicam very much and I quickly realized he was always behind me. My hands were on my shoulders. We whispered in my ear. We started to build this relationship where I knew, just moving his fingers to what he wanted , With me.Says Masics.

“Even when I got it, we were always talking about lighting because it had an impact on our trip to the camera. He was very fond of it, even if we all knew it would be difficult.”He adds.

Even when I got it, we always talked about lighting because it affected our trip to the camera. He supported a lot, even if we all knew that these shoots would be difficult.

When he lights up the tray, the leader loves to give actors as much freedom as possible. “I don’t explain the light that only works in one place.Explains Daniel Masazaks.

For the technician, you have to go where the emotion brings us. According to him, this flexibility helps to take unique moments. “If you take ten, these ten catch will all be different and they will be more natural than too much.It concludes.