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The Matrix 4: Why does the Matrix change color in Resurrection?  Cinema news

The Matrix 4: Why does the Matrix change color in Resurrection? Cinema news

It didn’t escape you, the dominant color of the matrix in the original trilogy was green. In the resurrection, this is no longer the case. This color gave way to more shimmer. Why this choice?

When The Matrix was released in 1999, viewers were able to discover a strange virtual world dominated by green. Thus, directors Lana and Lilly Wachowski, accompanied by cinematographer Bill Pope, made a clear distinction between the real world and its dark, matrix colors, with a predominance of green.

This choice of lighting continues in Matrix Reloaded and Revolutions, with the characters continuing to develop in the same fantasy world. At Resurrection, the Matrix is ​​regenerated, recharged, revived. It is very different from the one we knew 20 years ago.

Change the visual approach

Lana Wachowski decided that this new matrix would not be dominated by green, but would sparkle with color, given the opposite view of the original trilogy. So does not remember the film maker Bill Pope, who was also bitter about the role taken by the opus 2 and 3: Everything that was good in the first movie got bad in the past., accessed July 2020.

The dominant color in the Matrix was green, because old computers showed green text on a black background.

Then the director hired John Tolle and Daniel Massachusey, a duo you knew well after they worked with them on Cloud Atlas, Jupiter Ascending, or Sense8.

“The dominant color of the matrix was green, because old computers showed green text on a black background. So the matrix was green.”, explains Massaccesi in Première Columns. For Resurrections, Lana Wachowski asks directors of photography to take inspiration from the painter Le Caravaggio, famous for his style oscillating between bright lights and darkness.

We turned away from green to find these cool colors. We wanted to create a beautiful reality that does not exist.

“We moved away from green to search for these wonderful colors. We wanted to create a beautiful reality that does not exist. To see beauty. The story is no longer monochromatic, it unfolds like a rainbow. It is not about one person, but about all people”Daniel Massachusetts.

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Matrix style revolution

The latter also took over the reins of the Matrix Resurrections image alone after the departure of John Toll due to health issues within his family. Following a very hands-on, storytelling and highly censored visual approach in the original trilogy, Lana Wachowski wanted to take a 180-degree turn.

Thus, the director and director of photography preferred improvisation over the set: spontaneity in the choice of framing and the use of natural light was the credo of the two artists.

“I worked for a few days on Speed ​​Racer and then on Cloud Atlas. This was probably the first time I had filmed Lana and Lilly Wachowski in real places”Massaccesi recalls in an interview with Indiewire.

“They were a bit worried about the lack of control, but in the end they realized that they loved the quality of natural light and the ability to capture unique moments. Production – you have to be prepared to take advantage of the moment when something not ready appears that looks good to us”, Determines.

So Lana Wachowski changed her way of approaching her launch under Daniele Massaccesi. After their collaboration on Sense8, the film maker fully embraced his cinematographer’s vision, giving him carte blanche on the visual style of Part Four of The Matrix.

A COMPLICE DUO

“She said she wanted to use Steadicam a lot and I quickly realized she was still behind me, her hands on my shoulder, whispering in my ear. We started building this relationship where I could. To know, just by the movement of her fingers, what she wanted me to do. We didn’t even have to Speaking. So it was easier to capture those moments, those accidents, because she was right. With me.”, says Massaccesi.

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“Even when I was shooting, we were always talking about the lighting, because it affected our movements with the camera. She supported me so much, so much, even though we all knew this shoot was going to be difficult.”, he adds.

When the shooting location lights up, the cinematographer likes to give the actors as much freedom as possible. “I don’t adjust the light that works only in one place. If an actor wants to move in an unexpected way, I allow it. I am fully aware of the difficulty of their job, which is to create sensitive emotions under the gaze of a hundred people”, explains Danielle Massachusey.

For the technician, we have to go where the feelings take us. According to him, this flexibility helps to capture unique moments. “If you shoot ten times, those 10 shots will be different, and it will be more natural than if you plan a lot or think a lot.”, Concludes.

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