WEBVTT - Matt Frederick on The Matrix

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<v Speaker 1>Welcome to Movie Crush, a production of I Heart Radio. Hey, everybody,

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<v Speaker 1>Welcome to Movie Crush. Charles W. Chuck Bryant Here Home Studio,

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<v Speaker 1>Pot City Market, Atlanta, Georgia. Friday Interview addition, Colleague Edition

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<v Speaker 1>Colleague colleague for a long time, for a long time, dude,

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<v Speaker 1>like sucking twelve years? Yeah, twelve years. You can curse

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<v Speaker 1>on the show, you know, I can? And that exciting.

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<v Speaker 1>I don't even know if I'll be able to do it.

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<v Speaker 1>I know, right it had It took getting you sup

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<v Speaker 1>for me, But now I like have the worst mouth

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<v Speaker 1>on the show. I've heard a couple of episodes that

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<v Speaker 1>are a little a little blue, but in the best way.

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<v Speaker 1>So some of you might recognize this voice. I'm sitting

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<v Speaker 1>down with Matt Frederick, one of my old pals, an

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<v Speaker 1>old colleague. We've been working together for like twelve years,

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<v Speaker 1>like I just said, And Matt, you know we all

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<v Speaker 1>started out here. Uh. I was a writer and you

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<v Speaker 1>were in the video department. Yes, along, you were kind

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<v Speaker 1>of one of the first ones, you and Tyler. Is

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<v Speaker 1>that right, that's correct? Yeah. I came on as an

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<v Speaker 1>intern in two thousand and six. Wow, Yeah, thirteen years ago.

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<v Speaker 1>You're an intern. I was an intern. It's adorable, straight

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<v Speaker 1>out of college from what Georgia statee or just state

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<v Speaker 1>Film and Video department, right, So you got a job.

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<v Speaker 1>And that's when we were doing videos, and we were

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<v Speaker 1>making videos for the web site into the Web and

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<v Speaker 1>then we got bought by Discovery and did like YouTube

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<v Speaker 1>stuff and everyone was like, no one wants to see

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<v Speaker 1>anybody anymore, dude. Back in the day, we were trying

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<v Speaker 1>to make podcasts that were videos to go on iTunes

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<v Speaker 1>because there was a whole section on iTunes for video podcasts.

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<v Speaker 1>That's how stuff I don't want you to know I

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<v Speaker 1>got started. It was video. Yeah, it was iTunes video podcast.

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<v Speaker 1>Well that was the next thing coming out of my mouth.

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<v Speaker 1>As you're the one of the co host of stuff

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<v Speaker 1>they don't want you to know. You are now a

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<v Speaker 1>what's your official title? Executive producer. I'm lead executive producer

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<v Speaker 1>or ep I. I don't know, it's not I'm not

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<v Speaker 1>taking credit for anything. But I remember when all these

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<v Speaker 1>big transitions were happening, I met with all you guys

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<v Speaker 1>who always thought of as like, you know, little brothers,

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<v Speaker 1>and said, listen, dudes, which thing changes in the air

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<v Speaker 1>and my advice is get on the audio wagon. I

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<v Speaker 1>remember this clearly because I think that's where it's headed.

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<v Speaker 1>And unless you want to go work at another company

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<v Speaker 1>and do video, then be an audio producer. And you

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<v Speaker 1>all did. Yeah, like everybody. Well, that's the thing about

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<v Speaker 1>this place, how stuff works. You know, no matter who

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<v Speaker 1>owns it or you know what entity is at the

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<v Speaker 1>top of that name, the people have largely unchanged. And

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<v Speaker 1>I think it's because of the people that are here.

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<v Speaker 1>I think you're right. Yeah, I mean, no one was

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<v Speaker 1>like screw this, I'm out of here. Everyone adapted and changed.

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<v Speaker 1>Casey you Tyler, Paul, I guess Paul was. I mean

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<v Speaker 1>he's he's quote unquote new. Paul is newer. Annie has

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<v Speaker 1>been here. I didn't realize how long any had been here,

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<v Speaker 1>which he's been here, what like eight or ten years?

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<v Speaker 1>I think nine or ten. Yeah, yeah, that's great man,

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<v Speaker 1>All of you like what we're doing here. For everybody

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<v Speaker 1>out there who even cares at all, the house Stuff

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<v Speaker 1>Works team is pretty cool. I think people do care.

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<v Speaker 1>I think they like to know that. You know, we've

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<v Speaker 1>all been working together a long time and we're all

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<v Speaker 1>like invested in each other's lives and like, you've grown

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<v Speaker 1>up now. I saw you get married, well, not in person.

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<v Speaker 1>I wasn't invited. That's okay. Hey, hey in South Florida,

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<v Speaker 1>so I didn't invite you to my wedding here. Uh,

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<v Speaker 1>but we've all seen each other get married and have children,

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<v Speaker 1>and our kids are about the same age and just

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<v Speaker 1>kind of this really neat thing to see everyone grow up.

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<v Speaker 1>You're a grown man now. You were just a child. Yeah,

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<v Speaker 1>thirty six as of just a couple of days. It's crazy.

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<v Speaker 1>You guys are always going to be twenty two and

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<v Speaker 1>twenty three years old to me, me too, And that

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<v Speaker 1>means hopefully I'm always going to be thirty six. Well, yeah,

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<v Speaker 1>hopefully we can all keep our I forget the actual

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<v Speaker 1>title of this or the term for this within the

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<v Speaker 1>movie we're gonna talk about today, but our ourselves, our

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<v Speaker 1>matrix selves representations. I was your age actually when I

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<v Speaker 1>started roughly wow, because I'm forty eight, yeah, twelve thirteen

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<v Speaker 1>years ago. Well sir, you do not look a day

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<v Speaker 1>over thirty eight. Please. I didn't have gray hair when

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<v Speaker 1>I started on my beard, Yeah, I remember that. Yeah,

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<v Speaker 1>now it's it's there's a lot of it there had

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<v Speaker 1>ale my hair when I started. So you're a lead

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<v Speaker 1>EP now and you work, you've still got out of

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<v Speaker 1>your hair. What are you talking about? You get great hair? Uh?

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<v Speaker 1>Are you playing drums these days? By the way, I

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<v Speaker 1>am not, man, I want to so badly. So if

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<v Speaker 1>you're listening and you're in the Atlanta area and you

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<v Speaker 1>need a drummer, give me a shout. Do you still

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<v Speaker 1>have a drum set? I do what it's set up.

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<v Speaker 1>It is set up. It's in my parents basement. Oh well,

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<v Speaker 1>so you have to cover there. Yeah, so you literally

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<v Speaker 1>haven't touched drumsticks? And how long? And I every time

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<v Speaker 1>I go, like we'd take my son to go see

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<v Speaker 1>I go in the basement for a while. Like I

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<v Speaker 1>just say, honey, everybody, just give me, give me thirty

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<v Speaker 1>he'll be back. See. That makes me feel good. That's

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<v Speaker 1>what I wanted to hear. It would have really disappointed

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<v Speaker 1>me if you're like, yeah, I don't even have any

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<v Speaker 1>interest anymore. Oh no, man, No, that you know that

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<v Speaker 1>blew my mind. I don't know how many people know

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<v Speaker 1>who Connell is the number one important, most important powerful

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<v Speaker 1>person in podcasting. Uh yeah, Connall's our boss who literally

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<v Speaker 1>commissioned all these podcasts many many years ago. When I

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<v Speaker 1>first met him, I was in a meeting in a

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<v Speaker 1>place called the fish Bowl, Uh, in our old office.

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<v Speaker 1>He came in to talk to us in Roxanne and

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<v Speaker 1>everybody who was there, and he somebody casually mentions or

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<v Speaker 1>somehow it it's brought up that he was a touring

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<v Speaker 1>musician and he used to be and her touring as

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<v Speaker 1>a singer and guitars. And I was like, true, sorry, Oh.

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<v Speaker 1>I was like, dude, do you still play You know,

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<v Speaker 1>I got my sticks, I got my kids. Let's go man.

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<v Speaker 1>And he was just like, I don't play music anymore.

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<v Speaker 1>That's very conal. He's like, yeah, I was. We were

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<v Speaker 1>signed to a major label and I was touring through Europe.

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<v Speaker 1>But like, no, I don't do that ymore. Don't worry

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<v Speaker 1>about that. He's a very talented guy. Seriously. So, now

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<v Speaker 1>you were a lead EP of some of the biggest

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<v Speaker 1>shows in podcasting. Uh. You were leadp on Atlanta Monster

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<v Speaker 1>and voice that as well. Right, So I don't mean

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<v Speaker 1>to correct you. On Atlanta Monster, I was supervising producer, okay,

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<v Speaker 1>And then we'll set the record straight. And then on

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<v Speaker 1>the second season, I was host and then became executive

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<v Speaker 1>producer on that show too. Okay, and uh, you're now

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<v Speaker 1>working with Aaron Manky, one of the biggest names in podcasting.

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<v Speaker 1>On his stuff, he were assigned his slate because you're

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<v Speaker 1>killer and they knew you do a great job what

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<v Speaker 1>you're doing. You know, I think I'm doing a Hey,

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<v Speaker 1>I'm still here. That's that's what I'm like basing everything on.

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<v Speaker 1>I still have an office. What's new? What's going coming up?

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<v Speaker 1>Is there anything can talk about that you want to tease? H? Yeah,

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<v Speaker 1>I can tease a couple of things. If you haven't

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<v Speaker 1>listened to Noble Blood yet, I certainly would. And that

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<v Speaker 1>is about the royalty. Yeah, it's relatively unknown stories of royalty,

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<v Speaker 1>but told in a very narrative way, even though their

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<v Speaker 1>true stories. It's Dana Schwartz who's the host, and she

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<v Speaker 1>just does a great job telling you the story in

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<v Speaker 1>a way that flows, similar to the way Aaron Manky

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<v Speaker 1>tells stories on Lore and some of the other shows

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<v Speaker 1>Um and also Unobscured, which the first season was all

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<v Speaker 1>about the Salem witch Trials. The second season is coming

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<v Speaker 1>out later this year around October. Can you say what

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<v Speaker 1>it's about yet or is it a secret? Maybe Aaron

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<v Speaker 1>keeps a lot of that close to his chest, so

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<v Speaker 1>I would rather not speak to it. But it's really

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<v Speaker 1>it's really cool, awesome. I can't wait. You'll tell me off, Mike, right, yeah, okay,

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<v Speaker 1>sorry everyone perks of working here. Uh yeah, So man

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<v Speaker 1>has become one of like the best leadps we have.

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<v Speaker 1>You're assigned some of the most high profile stuff, and

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<v Speaker 1>it's a testament to the work you do, my friend.

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<v Speaker 1>Now stop it and thank you. So let's talk the Matrix.

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<v Speaker 1>I'm glad you picked this one, and you picked this

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<v Speaker 1>one a while ago. I've sort of been well, I'm

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<v Speaker 1>holding it for you. No one else asked to do it.

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<v Speaker 1>But uh, it's fucking twenty years old, which is crazy

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<v Speaker 1>to think about, and I have not seen it. Um.

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<v Speaker 1>I was trying to remember the last time I saw

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<v Speaker 1>the Matrix, and I saw it quite a few times

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<v Speaker 1>back then, but it's probably been at least fifteen years

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<v Speaker 1>since i've seen it. Oh yeah, I haven't seen it

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<v Speaker 1>in a long, long, long, long time. I realized when

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<v Speaker 1>I was watching it and the short answer you stopped

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<v Speaker 1>by my desk yesterday kind of like a little nervous,

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<v Speaker 1>like did it hold up or not? And boy, it

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<v Speaker 1>held up for me. I'll tell you. Last time I

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<v Speaker 1>watched it was two thousand three, okay, wow, yeah, yeah.

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<v Speaker 1>And I know specifically because my wife had never seen

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<v Speaker 1>it and I at the time she was just my girlfriend.

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<v Speaker 1>But I was like, you have never seen the Matrix.

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<v Speaker 1>That's pretty unusual. I think. Yeah, So we had a

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<v Speaker 1>young American. It's not like she was eight years old

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<v Speaker 1>or like fifty. She was in that wheelhouse. Yeah, when

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<v Speaker 1>she was an actor too, and she was plugged into

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<v Speaker 1>you know, pop culture and everything, and I figured it

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<v Speaker 1>would be you know, up for her. It wasn't. And

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<v Speaker 1>I forget sometimes that it is a serious action sci

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<v Speaker 1>fi like movie. Diana not into that stuff. That is

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<v Speaker 1>the opposite of what she's looking for. If it's got

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<v Speaker 1>Judd Apatow involved or a hilarious person, then that's that

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<v Speaker 1>is her wheelhouse. So that makes sense. Did she like

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<v Speaker 1>it though when she saw it? I think so. It

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<v Speaker 1>doesn't sound like that we had We had some we

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<v Speaker 1>had some cool discussion, but you know a lot of

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<v Speaker 1>times that's me harping on something like we're probably gonna

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<v Speaker 1>talk about it later, and then her just going Okay,

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<v Speaker 1>I guess I can see that said, that's a cool

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<v Speaker 1>discussion in your house generally, like me, come on, Emily,

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<v Speaker 1>watch the Hangover. We'll have a cool discussion about it. Uh.

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<v Speaker 1>It really held up for me, man, it was and

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<v Speaker 1>I think in context now, especially to see something that

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<v Speaker 1>was twenty years old but so revolutionary at the time.

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<v Speaker 1>And it's very easy to forget how revolutionary it was

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<v Speaker 1>when so many imitators came after um and and And

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<v Speaker 1>it's not like the Matrix was the most original thing ever,

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<v Speaker 1>like they borrowed installed. We might as well talk about

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<v Speaker 1>all that stuff from manga and and any sci fi

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<v Speaker 1>movie ever. So it's not like it was the most

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<v Speaker 1>original thing ever. Tons of tons of comic book yeah,

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<v Speaker 1>like you said, manga and comic book shots, like you

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<v Speaker 1>can just see it. You can see the pages turning

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<v Speaker 1>on the on the screen. And also the story, the

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<v Speaker 1>overall story, if you take out the sci fi stuff,

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<v Speaker 1>is a very old story. It's biblical exactly, you know,

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<v Speaker 1>it's Jesus in some ways. In a lot of ways,

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<v Speaker 1>it's uh, it's almost a superhero origin story in a

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<v Speaker 1>lot of ways. I think it was just at the

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<v Speaker 1>time and the way they skinned the movie, it just

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<v Speaker 1>felt like something we had never seen before. It's a

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<v Speaker 1>bit of a magic trick they played to seem totally

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<v Speaker 1>fresh and original and new, and all these other people

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<v Speaker 1>in the know at the time, we're like, dude, they're

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<v Speaker 1>totally ripping off this, this and this' Think about the

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<v Speaker 1>first thing you see when you start this movie. You know,

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<v Speaker 1>it's just showing you the production companies and everything. That

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<v Speaker 1>green logo overlay with all that, God, I mean, for me,

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<v Speaker 1>that became so iconic. Yeah, just that even that tone,

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<v Speaker 1>that color. Yep, I loved it. I felt all the

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<v Speaker 1>green like, uh, I mean the whole movie is green.

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<v Speaker 1>Every I'm sure they just had a green filter over

0:11:48.080 --> 0:11:50.960
<v Speaker 1>every single shot of the movie, but that there's something

0:11:51.000 --> 0:11:54.920
<v Speaker 1>about them going with that, like pushing all their chips

0:11:54.960 --> 0:12:00.199
<v Speaker 1>in on a color, which is pretty crazy, you know, man,

0:12:00.320 --> 0:12:03.000
<v Speaker 1>it's like, let's make a green movie. Yeah, but it's

0:12:03.000 --> 0:12:06.000
<v Speaker 1>so iconic now. Well and then, oh man, my wife

0:12:06.080 --> 0:12:08.640
<v Speaker 1>was pulling up trivia because we watched it last night

0:12:08.679 --> 0:12:11.040
<v Speaker 1>for the second time. Did she like anybody? She liked

0:12:11.080 --> 0:12:12.720
<v Speaker 1>it better? She really did. We were more into it.

0:12:12.800 --> 0:12:15.520
<v Speaker 1>But again, I'm sitting next to her like clacking away

0:12:15.520 --> 0:12:18.600
<v Speaker 1>on my computer taking notes. I'm transcribing most of the

0:12:18.679 --> 0:12:21.360
<v Speaker 1>quote I want to talk to you about. I'm just like, oh,

0:12:21.400 --> 0:12:23.719
<v Speaker 1>I forgot about that one. Just feel free to throw

0:12:23.720 --> 0:12:25.959
<v Speaker 1>out a quote whatever you come by. Oh yeah, we're

0:12:25.960 --> 0:12:28.160
<v Speaker 1>gonna we're gonna do some monologueing. I think there's some

0:12:28.200 --> 0:12:32.880
<v Speaker 1>soliloquies we gotta get into. But um, yeah, I even

0:12:32.920 --> 0:12:36.200
<v Speaker 1>forgot where I was because it was just so that

0:12:36.320 --> 0:12:39.400
<v Speaker 1>opening scene. We're looking at the trivia and she was

0:12:39.440 --> 0:12:41.400
<v Speaker 1>telling me that it took four days to shoot, just

0:12:41.559 --> 0:12:45.439
<v Speaker 1>that opening scene from the moment where uh, spoiler alert

0:12:45.440 --> 0:12:48.160
<v Speaker 1>do you give spoiler alerts? Everybody here knows where this

0:12:48.240 --> 0:12:53.720
<v Speaker 1>is spoiled away? Okay, cool, So it turns out you

0:12:53.760 --> 0:12:55.680
<v Speaker 1>didn't look like it for a minute. But it turns

0:12:55.679 --> 0:13:00.160
<v Speaker 1>out so when Trinity is sitting there alone in that

0:13:00.200 --> 0:13:03.240
<v Speaker 1>abandoned building that all the police show up, they opened

0:13:03.240 --> 0:13:06.280
<v Speaker 1>the door, she's sitting there, and that fight scene that occurs.

0:13:06.320 --> 0:13:10.320
<v Speaker 1>One of the first things we see is her doing

0:13:10.360 --> 0:13:13.240
<v Speaker 1>a jump kick. She jumps into the air, spreads her

0:13:13.320 --> 0:13:17.040
<v Speaker 1>arms like a sucking spider or something or crane, and

0:13:17.040 --> 0:13:20.760
<v Speaker 1>we get that slow motion pan yeah, bullet time. Yeah. Well, well,

0:13:20.800 --> 0:13:23.000
<v Speaker 1>it wasn't called that until later, but sure, yeah, we

0:13:23.080 --> 0:13:26.000
<v Speaker 1>get that shot almost off the bat. Yeah, and I

0:13:26.080 --> 0:13:28.400
<v Speaker 1>forgot that that. I mean, I I knew it. I

0:13:28.400 --> 0:13:30.480
<v Speaker 1>guess it's just I forgot that they were giving you

0:13:30.520 --> 0:13:34.680
<v Speaker 1>that much in the beginning to ramp up the tension,

0:13:35.080 --> 0:13:37.920
<v Speaker 1>the jumps from the buildings that you get almost immediately,

0:13:38.400 --> 0:13:42.240
<v Speaker 1>and just the badass fighting kinetic and there's so much

0:13:42.320 --> 0:13:44.840
<v Speaker 1>energy to it and the black leather and it was

0:13:44.880 --> 0:13:49.760
<v Speaker 1>so stylish and like cool and that jump and the

0:13:49.760 --> 0:13:52.800
<v Speaker 1>bullet time. Like I remember sitting in the theater and

0:13:52.840 --> 0:13:57.199
<v Speaker 1>seeing that happen and feeling like my brain exploded because

0:13:57.240 --> 0:14:00.880
<v Speaker 1>it was it's so many people copied it. It's so

0:14:00.960 --> 0:14:03.559
<v Speaker 1>old hat now no one was saying. His daughter they

0:14:03.559 --> 0:14:05.240
<v Speaker 1>watched it together and she was like, oh, that's kind

0:14:05.240 --> 0:14:07.080
<v Speaker 1>of cheesy, and like I've seen that a million times,

0:14:07.559 --> 0:14:10.040
<v Speaker 1>Like to see it on screen the very first time

0:14:10.520 --> 0:14:12.400
<v Speaker 1>and not knowing you know, I'm a film guy, you're

0:14:12.400 --> 0:14:14.720
<v Speaker 1>a film guy, Like, how did they do that? I

0:14:14.760 --> 0:14:17.200
<v Speaker 1>had to stop myself from trying to figure out how

0:14:17.200 --> 0:14:19.240
<v Speaker 1>the funk they did that shot. It felt like seeing

0:14:19.240 --> 0:14:24.280
<v Speaker 1>a magic trick and and really, yea, so cool. My

0:14:24.360 --> 0:14:28.120
<v Speaker 1>brain exploded in the movie theater. Um, yeah, I mean

0:14:28.200 --> 0:14:29.840
<v Speaker 1>right off the bat, they and the other thing that

0:14:29.920 --> 0:14:33.040
<v Speaker 1>I kind of forgot. I did voice to text too.

0:14:33.080 --> 0:14:34.760
<v Speaker 1>That's some funny. It's like so many of these words

0:14:34.760 --> 0:14:37.720
<v Speaker 1>are misspelled, but the steaks are set and it's spelled

0:14:37.760 --> 0:14:42.320
<v Speaker 1>like the cut of meat, the steaks, but the stakes

0:14:42.360 --> 0:14:44.040
<v Speaker 1>are set right away with that voice over. And I

0:14:44.080 --> 0:14:47.720
<v Speaker 1>don't even remember that voice over at the beginning, with

0:14:48.040 --> 0:14:55.080
<v Speaker 1>um Trinity talking to Morpheus. Yeah, we're going to kill him,

0:14:55.120 --> 0:14:59.280
<v Speaker 1>but Morphias says he or no way is it Joey pants? Yeah,

0:14:59.320 --> 0:15:04.720
<v Speaker 1>I think it's Joey Hants talking to two uh yeah,

0:15:04.720 --> 0:15:07.000
<v Speaker 1>Cipher and Trinity. Cipher always forget all the names. Well

0:15:07.080 --> 0:15:09.960
<v Speaker 1>and so okay, Morpheus says he's the one, like they

0:15:10.000 --> 0:15:12.320
<v Speaker 1>say it right at the beginning, but the first time

0:15:12.320 --> 0:15:13.600
<v Speaker 1>you see the movie, you don't even know what they're

0:15:13.600 --> 0:15:18.600
<v Speaker 1>talking about, dude. And for me, that has such interesting

0:15:18.680 --> 0:15:25.400
<v Speaker 1>biblical uh meaning there with the betrayer and the savior

0:15:25.520 --> 0:15:28.960
<v Speaker 1>essentially of the guy, like having this conversation at the top.

0:15:29.160 --> 0:15:31.080
<v Speaker 1>It's all over the place in this movie, like the

0:15:31.120 --> 0:15:33.520
<v Speaker 1>story is as old as time. Like you said, well,

0:15:33.560 --> 0:15:35.400
<v Speaker 1>the movie is so smart to do that because you

0:15:35.440 --> 0:15:37.680
<v Speaker 1>don't even know the significance at that moment, but it

0:15:37.800 --> 0:15:40.320
<v Speaker 1>is truly significant. Well, and it was one of these

0:15:40.360 --> 0:15:43.720
<v Speaker 1>where repeated viewings back in the day where like you

0:15:43.760 --> 0:15:46.760
<v Speaker 1>saw so much more, you understood so much more, even

0:15:46.800 --> 0:15:49.160
<v Speaker 1>though it's not a complex movie, like all these little

0:15:49.240 --> 0:15:51.840
<v Speaker 1>like teasers along the way, so great. Can I tell

0:15:51.840 --> 0:15:53.680
<v Speaker 1>you a little bit about why this movie meant so

0:15:53.760 --> 0:15:56.440
<v Speaker 1>much to me, why I wanted to cover it with you? Absolutely? Okay,

0:15:57.240 --> 0:16:00.520
<v Speaker 1>So picture Matt Frederick. You don't know what I look like,

0:16:00.600 --> 0:16:03.720
<v Speaker 1>I'm assuming, but just picture of this thing, but in

0:16:03.760 --> 0:16:08.440
<v Speaker 1>corporeal form. He's living in for scythe County, Georgia, coming Georgia.

0:16:08.520 --> 0:16:11.120
<v Speaker 1>That's where is where you growing up? That's me, this guy. Yeah,

0:16:11.120 --> 0:16:13.680
<v Speaker 1>that's where I grew up. And yet you became a

0:16:13.720 --> 0:16:18.680
<v Speaker 1>good liberal. Well, well, I'm pretty sure everything happens for

0:16:18.680 --> 0:16:23.320
<v Speaker 1>a reason and and what not. Really I don't truly

0:16:23.320 --> 0:16:26.000
<v Speaker 1>believe that. But in this way, it's the the idea

0:16:26.080 --> 0:16:29.920
<v Speaker 1>that I had a reaction to my environment, right, and

0:16:30.440 --> 0:16:32.480
<v Speaker 1>a lot of times it's a rubber banding effect kind

0:16:32.520 --> 0:16:34.360
<v Speaker 1>of thing. I think that's what occurred. And also had

0:16:34.400 --> 0:16:37.720
<v Speaker 1>an incredible appearance growing up there who were not from

0:16:37.760 --> 0:16:41.760
<v Speaker 1>for Scyth County. Um. Not to look, I'm not poo

0:16:41.800 --> 0:16:45.200
<v Speaker 1>pooing you for Sath. It's just you know, there's some

0:16:45.200 --> 0:16:46.960
<v Speaker 1>stuff going on up there. Y'all know what it is

0:16:47.480 --> 0:16:50.480
<v Speaker 1>the way the way it is, um. But I was

0:16:50.520 --> 0:16:52.480
<v Speaker 1>living there. I had grown up in the church, the

0:16:52.560 --> 0:16:58.760
<v Speaker 1>Methodist Church specifically, and I internalized that heavily as I

0:16:58.840 --> 0:17:02.840
<v Speaker 1>was becoming teenager, you know, middle school, high school, and

0:17:03.360 --> 0:17:08.119
<v Speaker 1>my philosophy was so rooted in the Bible and taking

0:17:08.119 --> 0:17:12.480
<v Speaker 1>it literally and reading the stories as though Moses really

0:17:12.520 --> 0:17:14.880
<v Speaker 1>did these things, as though you're talking about me too,

0:17:15.000 --> 0:17:17.720
<v Speaker 1>my child as well. Yeah, yeah, except I was Baptist.

0:17:17.880 --> 0:17:20.639
<v Speaker 1>Oh there you go even worse. Well, I don't know

0:17:21.040 --> 0:17:27.119
<v Speaker 1>there there's a there's a certain boring quality to Methodist services,

0:17:28.280 --> 0:17:31.479
<v Speaker 1>um that I don't see again a lot of Baptist services.

0:17:31.480 --> 0:17:33.720
<v Speaker 1>But in anyway, that's just no again, no offense to

0:17:33.720 --> 0:17:38.320
<v Speaker 1>you Methodists out there first United Methodist Church, Shambly, Georgia

0:17:39.160 --> 0:17:43.800
<v Speaker 1>and uh coming okay, So um, that that's my worldview.

0:17:43.840 --> 0:17:49.439
<v Speaker 1>It's very solidified. So because this came out March, I

0:17:49.440 --> 0:17:55.200
<v Speaker 1>think March thirty one or March, um, my worldview is

0:17:55.240 --> 0:17:58.399
<v Speaker 1>so solidified that when I walk into that theater to

0:17:58.400 --> 0:18:00.960
<v Speaker 1>go see a cool action movie that I'm excited about.

0:18:00.960 --> 0:18:04.320
<v Speaker 1>The trailers look great. The taglines have been so crazy cool,

0:18:04.320 --> 0:18:07.880
<v Speaker 1>like free your mind? Oh what you only to free

0:18:07.920 --> 0:18:09.720
<v Speaker 1>my mind? What is the matrix? I don't know. Let's

0:18:09.720 --> 0:18:12.719
<v Speaker 1>go find out what the matrix is? George Clinton Ship seriously,

0:18:12.960 --> 0:18:17.040
<v Speaker 1>the matrix has you? Um? So walk into that theater.

0:18:17.720 --> 0:18:20.520
<v Speaker 1>I watched the movie and I couldn't tell you that

0:18:20.560 --> 0:18:25.000
<v Speaker 1>I truly remember watching it for the first time. It

0:18:25.040 --> 0:18:29.119
<v Speaker 1>felt more like the movie happened to me, um because

0:18:29.359 --> 0:18:33.320
<v Speaker 1>it was the first major crack in the armor of

0:18:33.359 --> 0:18:36.919
<v Speaker 1>my established word. You where I And again, it's just

0:18:36.960 --> 0:18:38.639
<v Speaker 1>a movie. I know it's fiction. I'm in there. I

0:18:38.720 --> 0:18:42.680
<v Speaker 1>understand all of that. But it caused me to think, well,

0:18:42.720 --> 0:18:45.880
<v Speaker 1>maybe I don't know everything, because I think what religion

0:18:45.880 --> 0:18:47.440
<v Speaker 1>a lot of times will do to us is cause

0:18:47.560 --> 0:18:50.040
<v Speaker 1>us to believe that we have the answer, we understand,

0:18:50.320 --> 0:18:53.520
<v Speaker 1>like what humans are, what we're meant to do on

0:18:53.560 --> 0:18:56.200
<v Speaker 1>this planet, and all these things, and don't don't explore

0:18:56.240 --> 0:18:58.000
<v Speaker 1>any further because it's all right here. Yeah you got

0:18:58.000 --> 0:19:02.359
<v Speaker 1>the answers already. Uh. This this movie really did move

0:19:02.440 --> 0:19:07.480
<v Speaker 1>things in a direction of discovery for me. Wow, that's great. Yeah. Yeah,

0:19:07.520 --> 0:19:11.119
<v Speaker 1>for me, it was a religion class in college. Dude,

0:19:11.200 --> 0:19:13.320
<v Speaker 1>I wasn't there yet, but as soon as I took

0:19:13.320 --> 0:19:16.320
<v Speaker 1>a religion class in college, that's when things took a

0:19:16.320 --> 0:19:20.440
<v Speaker 1>bit of a one eighty. Yeah, that's interesting. We studied Judaism, Hinduism,

0:19:20.440 --> 0:19:24.840
<v Speaker 1>and uh jeez, what was the third one? I can't remember.

0:19:25.320 --> 0:19:29.240
<v Speaker 1>Judaism and Buddhism. Maybe Buddhism, dude. I remember thinking, oh,

0:19:29.480 --> 0:19:31.600
<v Speaker 1>wait a minute. First of all, they're all sort of

0:19:31.640 --> 0:19:35.520
<v Speaker 1>the same. How is that possible? Yeah, and yeah, I

0:19:35.600 --> 0:19:37.640
<v Speaker 1>learned a lot. It really opened my mind. Oh man,

0:19:37.680 --> 0:19:39.480
<v Speaker 1>me too. Yeah. For me, it was a lot of

0:19:39.480 --> 0:19:44.240
<v Speaker 1>the um kind of the old old more what would

0:19:44.240 --> 0:19:46.720
<v Speaker 1>be considered pagan or like Wicca and some of these

0:19:47.320 --> 0:19:50.520
<v Speaker 1>religions that that focus on nature above a lot of

0:19:50.560 --> 0:19:54.359
<v Speaker 1>other things that really like just broke me out of

0:19:55.240 --> 0:19:57.879
<v Speaker 1>everything because I because I could connect with all the

0:19:57.920 --> 0:20:01.199
<v Speaker 1>things that that we're being worshiped in venerated, and I

0:20:01.240 --> 0:20:11.639
<v Speaker 1>was like, oh, okay, that kind of makes sense. So

0:20:11.680 --> 0:20:15.720
<v Speaker 1>you were sixteen then roughly when this came out. Wow.

0:20:16.040 --> 0:20:19.119
<v Speaker 1>And then on my seventeenth birthday, I had a birthday

0:20:19.200 --> 0:20:23.520
<v Speaker 1>party at my parents basement. Hopefully there's one person listening

0:20:23.560 --> 0:20:26.960
<v Speaker 1>that was at that party. Um, it was my sister

0:20:27.040 --> 0:20:31.919
<v Speaker 1>probably listening. She was there. It was a combination Matrix

0:20:32.160 --> 0:20:36.360
<v Speaker 1>Steve Irwin party, so you could either come. You could

0:20:36.400 --> 0:20:39.920
<v Speaker 1>either come as dresses your matrix self, bring your leather,

0:20:40.119 --> 0:20:46.359
<v Speaker 1>or bring your short cargo pants. That's adorable. It was amazing. Wow,

0:20:46.880 --> 0:20:48.320
<v Speaker 1>I just I want to put you in my pocket

0:20:48.400 --> 0:20:51.359
<v Speaker 1>right now. Well, you'll The other funny thing to remember

0:20:51.359 --> 0:20:53.880
<v Speaker 1>about this film too, in context of when it came out,

0:20:54.080 --> 0:20:58.919
<v Speaker 1>is a few months before a movie called Episode one,

0:20:58.960 --> 0:21:01.800
<v Speaker 1>The Phantom Menace. But yeah, not a good look for

0:21:01.840 --> 0:21:07.000
<v Speaker 1>George Lucas to be bested at his own game and preemptively,

0:21:07.200 --> 0:21:09.720
<v Speaker 1>you know, when these two directors that I had never

0:21:09.760 --> 0:21:14.480
<v Speaker 1>heard of came through and created this thing, and then

0:21:16.520 --> 0:21:19.520
<v Speaker 1>it feels like it's old and dated and like this

0:21:19.560 --> 0:21:23.439
<v Speaker 1>seems so fresh and like cyberpunk and kinetic and like

0:21:23.480 --> 0:21:26.640
<v Speaker 1>cutting edge. And it's like I said, it's easy now

0:21:26.720 --> 0:21:29.080
<v Speaker 1>to some people like Noel thought it was a little

0:21:29.160 --> 0:21:32.800
<v Speaker 1>dated now to look. But in the context of it

0:21:32.880 --> 0:21:36.919
<v Speaker 1>was right there of the millennium. Oh yeah, you know

0:21:36.960 --> 0:21:39.800
<v Speaker 1>it was everyone was thinking about this like stuff. Yes,

0:21:40.240 --> 0:21:42.840
<v Speaker 1>it was on everybody's mind. Y t K was was

0:21:42.880 --> 0:21:46.720
<v Speaker 1>like that their fear was real. It's crazy to think about.

0:21:47.280 --> 0:21:49.040
<v Speaker 1>But so there are a couple of dated things I

0:21:49.040 --> 0:21:51.240
<v Speaker 1>want to hit right here, just because we pushed on that,

0:21:51.640 --> 0:21:57.160
<v Speaker 1>um the cell phone that Neo opens that the first time. Yeah, yeah,

0:21:57.200 --> 0:21:59.120
<v Speaker 1>that's great, and my wife was like, oh my god,

0:21:59.200 --> 0:22:01.720
<v Speaker 1>that's the cheese. This there's a terrible They couldn't think

0:22:01.720 --> 0:22:04.560
<v Speaker 1>of a cooler phone. That's because that's the coolest phone.

0:22:04.920 --> 0:22:07.840
<v Speaker 1>It was so the coolest phone. Well at the time,

0:22:07.880 --> 0:22:09.200
<v Speaker 1>you know, if you're gonna have a phone, it was

0:22:09.200 --> 0:22:12.960
<v Speaker 1>a flippy maybe, but usually it's a brick and or

0:22:13.000 --> 0:22:14.159
<v Speaker 1>if you had a lot of money, you had that

0:22:14.240 --> 0:22:18.479
<v Speaker 1>razor flip phone, the razor into a thin fish. But again,

0:22:18.520 --> 0:22:21.640
<v Speaker 1>like this thing, they just like, look cool. The kinetic

0:22:21.760 --> 0:22:24.560
<v Speaker 1>movement of it. It was bad ass. So that one

0:22:24.920 --> 0:22:27.880
<v Speaker 1>my wife thought was hilariously bad. But then the other

0:22:27.920 --> 0:22:33.600
<v Speaker 1>one is Morpheus's sunglasses. They're great. Do you remember these? Yeah, man,

0:22:33.640 --> 0:22:36.760
<v Speaker 1>there's no uh whatever these are called what are these called?

0:22:36.800 --> 0:22:38.760
<v Speaker 1>The thing that sits on your ears the arms, yeah,

0:22:38.800 --> 0:22:40.840
<v Speaker 1>the arms, the legs. You just pinch it and you

0:22:40.960 --> 0:22:42.639
<v Speaker 1>watch him do it and come puts him on. He

0:22:42.760 --> 0:22:45.159
<v Speaker 1>just like Hinch I forgot he put him on in

0:22:45.240 --> 0:22:47.480
<v Speaker 1>that one scene he said something and then just like

0:22:47.520 --> 0:22:50.000
<v Speaker 1>tenches him on his nose because they look cool when

0:22:50.000 --> 0:22:52.920
<v Speaker 1>they're sitting on his face. Cool for Morpheus. Yeah, I

0:22:52.920 --> 0:22:55.399
<v Speaker 1>wouldn't wear that shed Yeah, but they look good on

0:22:55.480 --> 0:22:59.359
<v Speaker 1>Laurence Fishburne. They did that. Morpheus is so great. So

0:22:59.400 --> 0:23:01.359
<v Speaker 1>they had the open fight and you get one of

0:23:01.520 --> 0:23:03.080
<v Speaker 1>already out of the gate. You get one of the

0:23:03.119 --> 0:23:05.960
<v Speaker 1>best lines of the film. Oh, I know what it is.

0:23:06.040 --> 0:23:08.400
<v Speaker 1>You are you gonna say to you? Well, you say

0:23:08.400 --> 0:23:09.639
<v Speaker 1>it because I want to see if it's got to

0:23:09.640 --> 0:23:11.639
<v Speaker 1>be the same one, Are you sure? Yeah, go ahead,

0:23:11.880 --> 0:23:14.720
<v Speaker 1>you give me that jurism addiction crap and you can

0:23:14.800 --> 0:23:18.200
<v Speaker 1>cram it up your ass. Okay, all right, that was mine.

0:23:18.720 --> 0:23:22.920
<v Speaker 1>Uh my line is your men are already dead. Yep.

0:23:23.080 --> 0:23:24.760
<v Speaker 1>That was literally the next one that I have here.

0:23:24.760 --> 0:23:29.040
<v Speaker 1>All Right, I figured, because well we should talk about um,

0:23:29.200 --> 0:23:31.720
<v Speaker 1>we should talk about him in that character one of

0:23:31.720 --> 0:23:35.400
<v Speaker 1>the great villains of all time Smith, Yes, like one

0:23:35.440 --> 0:23:37.480
<v Speaker 1>of the great movie villains ever, one of the great

0:23:37.520 --> 0:23:42.800
<v Speaker 1>bad guys. And the decision by the wikowskis too um.

0:23:42.880 --> 0:23:44.560
<v Speaker 1>I think it was a smart decision to make the

0:23:44.600 --> 0:23:50.080
<v Speaker 1>agents so fucking scary and intimidating, yet put them in

0:23:50.160 --> 0:23:53.040
<v Speaker 1>these black suits with glasses and mysterious and you don't

0:23:53.040 --> 0:23:55.720
<v Speaker 1>know even what they are, and they're never up or

0:23:55.760 --> 0:23:59.840
<v Speaker 1>down like he's always steady. But you know, is bad

0:24:00.040 --> 0:24:03.960
<v Speaker 1>uses all of them? Are they fucking run from agents? Yeah?

0:24:04.040 --> 0:24:06.919
<v Speaker 1>And no one's ever beaten one up? Yeah, exactly, everyone

0:24:06.960 --> 0:24:12.440
<v Speaker 1>has died. It's interesting to me how they represent um,

0:24:12.480 --> 0:24:16.359
<v Speaker 1>both like a you know, representations of an FBI agent

0:24:16.720 --> 0:24:21.119
<v Speaker 1>or a corporate boss, or the way that suit lands

0:24:21.160 --> 0:24:22.800
<v Speaker 1>on them, the way it sits on them, the way

0:24:22.840 --> 0:24:26.880
<v Speaker 1>their sunglasses are, the earwigs, Yeah, the secret service style.

0:24:27.200 --> 0:24:31.240
<v Speaker 1>They represent a whole lot of power structure really really

0:24:31.920 --> 0:24:37.560
<v Speaker 1>in a sleek way, would say, and that the cold calculated,

0:24:37.680 --> 0:24:40.480
<v Speaker 1>like the way their eyes function, the way they move,

0:24:40.520 --> 0:24:43.879
<v Speaker 1>the way they look and they function together. It's just

0:24:44.000 --> 0:24:47.560
<v Speaker 1>it's representative of a lot of the negative things that

0:24:47.640 --> 0:24:50.800
<v Speaker 1>this movie, or this movie takes to be negative things. Yeah,

0:24:50.880 --> 0:24:53.359
<v Speaker 1>there are some larger statements going on I think in

0:24:53.359 --> 0:24:56.760
<v Speaker 1>this film. Yeah, behind the scenes, and they distill a

0:24:56.760 --> 0:25:02.160
<v Speaker 1>lot of things into a symbol in this movie. Yeah. Absolutely. Um.

0:25:02.280 --> 0:25:04.840
<v Speaker 1>Also in the opening scene, aside from the great jump

0:25:04.880 --> 0:25:07.920
<v Speaker 1>in the bullet time. I have to say when when

0:25:07.920 --> 0:25:11.000
<v Speaker 1>she runs on the wall, that was another scene that

0:25:11.080 --> 0:25:14.360
<v Speaker 1>blew that part that blew me away because immediately you're

0:25:14.400 --> 0:25:17.439
<v Speaker 1>just like, these people have some kind of superpower. But

0:25:17.840 --> 0:25:20.359
<v Speaker 1>this is before MCU and all that stuff, so we

0:25:20.359 --> 0:25:22.320
<v Speaker 1>didn't know what that meant or look like. Like we

0:25:22.359 --> 0:25:28.000
<v Speaker 1>hadn't been over inundated with superhero movies. Yeah, it wouldn't

0:25:28.080 --> 0:25:31.000
<v Speaker 1>play as well now. And it was so odd because

0:25:31.040 --> 0:25:35.600
<v Speaker 1>they didn't feel like superheroes, but they were doing superhero things.

0:25:35.680 --> 0:25:38.760
<v Speaker 1>They look really interesting on screen, you know, with the

0:25:38.840 --> 0:25:41.679
<v Speaker 1>latex of leather and all those things, especially Trinity in

0:25:41.680 --> 0:25:44.160
<v Speaker 1>that opening scene. But Carrie and Moss was so hot.

0:25:45.640 --> 0:25:48.320
<v Speaker 1>My my wife and I were bonding a little bit

0:25:48.359 --> 0:25:50.000
<v Speaker 1>about that. She was like, oh my god. It was

0:25:50.160 --> 0:25:52.600
<v Speaker 1>on that first scene. Actually, no, it was the scene

0:25:53.080 --> 0:25:57.920
<v Speaker 1>the next scene, right after Neo wakes up at his computer.

0:25:58.320 --> 0:26:01.000
<v Speaker 1>Then he follows the White Rabbit. They're in that club.

0:26:01.040 --> 0:26:03.240
<v Speaker 1>Since she gets in his ear, she's talking to him

0:26:03.280 --> 0:26:05.880
<v Speaker 1>right in the nape of his essensual I remember like

0:26:06.240 --> 0:26:08.119
<v Speaker 1>feeling as though I was falling alow with her. You

0:26:08.160 --> 0:26:11.440
<v Speaker 1>were sixteen, dude. In the Methodist point you probably didn't

0:26:11.440 --> 0:26:13.360
<v Speaker 1>know the feelings. You would be like, I didn't understand

0:26:13.359 --> 0:26:15.399
<v Speaker 1>that that would never happen to me. I was like,

0:26:16.560 --> 0:26:21.240
<v Speaker 1>I like that. Well, she was so sexy and cool

0:26:21.480 --> 0:26:24.480
<v Speaker 1>and like strong and like she was a badass. She

0:26:24.560 --> 0:26:27.760
<v Speaker 1>was like everything you wanted and like, uh in a

0:26:27.840 --> 0:26:31.000
<v Speaker 1>movie like this, and I can't imagine being like I'm

0:26:31.119 --> 0:26:33.919
<v Speaker 1>remembering sixteen year old Baptist Chuck like mine would have

0:26:33.920 --> 0:26:36.320
<v Speaker 1>been blown. The movies were not the school or sexy

0:26:36.359 --> 0:26:39.000
<v Speaker 1>back then. It's the kind of thing where everything in

0:26:39.080 --> 0:26:41.800
<v Speaker 1>my body wants to cover my eyes and not look

0:26:41.960 --> 0:26:44.719
<v Speaker 1>and then just peep through my fingers because I really

0:26:44.720 --> 0:26:47.760
<v Speaker 1>want to look. But everything is tough, perfect, and especially

0:26:47.800 --> 0:26:49.760
<v Speaker 1>like the outfits and all, like you said that, the

0:26:50.000 --> 0:26:52.760
<v Speaker 1>latex and the leather and like that stuff there. It's like,

0:26:52.920 --> 0:26:55.760
<v Speaker 1>you know, you didn't see girls in high school wearing

0:26:55.800 --> 0:26:58.120
<v Speaker 1>that stuff, so you see it on screen and it's

0:26:58.160 --> 0:27:01.800
<v Speaker 1>just like, oh my god, I know I like her. Yeah. Well,

0:27:01.840 --> 0:27:05.680
<v Speaker 1>in the costuming in this movie is so interesting, and

0:27:05.800 --> 0:27:09.600
<v Speaker 1>it was again that methodist kid living in a conservative

0:27:09.640 --> 0:27:13.600
<v Speaker 1>county in Georgia has never seen anybody where any of

0:27:13.600 --> 0:27:17.159
<v Speaker 1>the clothes that are happening in the matrix, um, for

0:27:17.200 --> 0:27:19.600
<v Speaker 1>at least when they're in their matrix selves or their

0:27:20.040 --> 0:27:24.639
<v Speaker 1>insidual whatever self. And that was also very strange for me.

0:27:25.200 --> 0:27:26.879
<v Speaker 1>Um oh, and that was the other thing with the

0:27:26.880 --> 0:27:30.359
<v Speaker 1>Agents that I totally forgot. We get introduced to the

0:27:30.359 --> 0:27:33.600
<v Speaker 1>agents in Pitch Black at night in a city by

0:27:33.600 --> 0:27:36.439
<v Speaker 1>an abandoned building. We've got police officers out there, siren

0:27:36.600 --> 0:27:41.280
<v Speaker 1>or flights going off everywhere. They roll up all wearing sunglasses.

0:27:41.400 --> 0:27:44.800
<v Speaker 1>Yeah you think they're Feds. Yeah, yeah, but they're wearing

0:27:44.800 --> 0:27:48.480
<v Speaker 1>the shades. And it also seems like their robots. It's

0:27:48.480 --> 0:27:51.640
<v Speaker 1>like what are they? Yeah, exactly that you immediately get that, um,

0:27:52.080 --> 0:27:55.520
<v Speaker 1>this is these guys are off. But yeah, because the

0:27:55.520 --> 0:28:00.119
<v Speaker 1>cops defer to them. Yeah. Um. And and you it

0:28:00.160 --> 0:28:05.199
<v Speaker 1>takes you don't fully understand the relationship. And like the movie, like, uh,

0:28:06.480 --> 0:28:09.320
<v Speaker 1>the movie reveals itself very smartly as it goes, I think,

0:28:09.640 --> 0:28:12.200
<v Speaker 1>as far as the world and what's going on. Obviously

0:28:12.200 --> 0:28:15.359
<v Speaker 1>the big reveal later, but I like a movie where

0:28:15.720 --> 0:28:17.600
<v Speaker 1>you're you're trying to piece together because you know they're

0:28:17.600 --> 0:28:20.600
<v Speaker 1>not regular cops or detectives. Yeah, like there's something else

0:28:20.640 --> 0:28:23.399
<v Speaker 1>going on, but they do. I mean, you that line

0:28:23.600 --> 0:28:25.640
<v Speaker 1>you give me that jurism addiction crap. You can cram

0:28:25.640 --> 0:28:28.040
<v Speaker 1>it up your ask. That's the that's the thing we've

0:28:28.040 --> 0:28:29.880
<v Speaker 1>heard in a lot of other movies. You think about

0:28:30.200 --> 0:28:32.520
<v Speaker 1>Beverly Hills Cop or maybe not that one, but there's

0:28:32.680 --> 0:28:36.640
<v Speaker 1>a lot of older cop movies where the FBI agent, Yeah,

0:28:36.640 --> 0:28:40.360
<v Speaker 1>THEYD taking over now, yeah exactly, Well come on, O

0:28:40.520 --> 0:28:44.680
<v Speaker 1>cme scene. That's just about to say it. That's the line.

0:28:45.120 --> 0:28:47.640
<v Speaker 1>This is our crime scene, now exactly, take your local

0:28:47.640 --> 0:28:49.640
<v Speaker 1>boys and get out of here. And they just set

0:28:49.640 --> 0:28:51.440
<v Speaker 1>it up in the beginning, and then it makes you

0:28:52.000 --> 0:28:54.880
<v Speaker 1>that's what it does. This movie makes you start to

0:28:54.960 --> 0:28:58.640
<v Speaker 1>question things before it reveals things, and then as it

0:28:58.720 --> 0:29:03.840
<v Speaker 1>reveals things, your mind continues to get blown. So think

0:29:03.880 --> 0:29:05.720
<v Speaker 1>about if you don't mind, can just take us to

0:29:06.360 --> 0:29:08.600
<v Speaker 1>we We talked a little bit about Neo running away.

0:29:09.280 --> 0:29:12.840
<v Speaker 1>He's in his office building. He's he's symbolically escaping his

0:29:12.920 --> 0:29:17.200
<v Speaker 1>corporate which is a great sequence. Yeah, oh so awesome. Yeah. Um,

0:29:17.320 --> 0:29:19.840
<v Speaker 1>then you know he goes out on that ledge which

0:29:19.880 --> 0:29:23.200
<v Speaker 1>by the way, Kano Reeves apparently actually went out on

0:29:23.200 --> 0:29:27.040
<v Speaker 1>that ledge. Really no stunt man and shot that scene. Yeah,

0:29:27.320 --> 0:29:30.320
<v Speaker 1>I mean, probably not necessary, but yeah, but he wanted

0:29:30.320 --> 0:29:33.720
<v Speaker 1>to and it. I mean it's really cool. Yeah. Then

0:29:33.760 --> 0:29:36.800
<v Speaker 1>we he gets taken away by the agents, right, and

0:29:36.880 --> 0:29:41.960
<v Speaker 1>you have them sitting down being interrogated, um talking, I've

0:29:42.040 --> 0:29:45.080
<v Speaker 1>totally forgot his name was Thomas. Yeah. You don't hear

0:29:45.080 --> 0:29:49.560
<v Speaker 1>his name much because it's always Mr. Anderson. Yeah, when

0:29:49.600 --> 0:29:52.400
<v Speaker 1>it's Thomas A. Anderson, I think Thomas Anderson and uh,

0:29:53.240 --> 0:29:55.000
<v Speaker 1>I forget if they actually mentioned his age. I was

0:29:55.040 --> 0:29:56.760
<v Speaker 1>looking it up last night. He's supposed to be around

0:29:58.720 --> 0:30:01.920
<v Speaker 1>around that time. Yeah, that's about right. Um, so you know,

0:30:02.000 --> 0:30:06.120
<v Speaker 1>a fairly young professional guy working. He's being interrogated. We

0:30:06.200 --> 0:30:09.000
<v Speaker 1>know already from the movies established that he's a hacker

0:30:09.040 --> 0:30:12.280
<v Speaker 1>of some sort. He at least he sells that guy

0:30:12.720 --> 0:30:16.360
<v Speaker 1>some kind of data disc Yeah. I don't think it's

0:30:16.400 --> 0:30:18.720
<v Speaker 1>explained fully. Maybe I'm wrong, correct us if we're wrong,

0:30:18.720 --> 0:30:20.440
<v Speaker 1>But I don't think they fully explain what it is.

0:30:21.040 --> 0:30:22.400
<v Speaker 1>But he gets a lot of money for it. It's

0:30:22.440 --> 0:30:26.800
<v Speaker 1>some sort of black market thing. And then all of

0:30:26.840 --> 0:30:29.280
<v Speaker 1>a sudden, you know what was it. I've got the

0:30:29.320 --> 0:30:32.560
<v Speaker 1>line in here. I'm talking about clubbing to White Zombie,

0:30:32.560 --> 0:30:35.040
<v Speaker 1>which was so weird. Hang out in the club and

0:30:35.160 --> 0:30:38.200
<v Speaker 1>Dragula is playing. Okay, So you mean when he's being

0:30:38.200 --> 0:30:41.480
<v Speaker 1>interrogated what he says, Yeah, he's being interrogated. Let's see,

0:30:41.840 --> 0:30:45.840
<v Speaker 1>um agents I put agents Smith putting in work. I

0:30:45.840 --> 0:30:50.000
<v Speaker 1>don't know what that means. As you can see, we've

0:30:50.040 --> 0:30:53.920
<v Speaker 1>had our eyes on you for some time now, Mr Anderson, Yeah,

0:30:53.960 --> 0:30:56.760
<v Speaker 1>he does. It's sort of the trope where he uh you,

0:30:57.120 --> 0:30:58.920
<v Speaker 1>it's a great way to get information out there is

0:30:58.920 --> 0:31:01.040
<v Speaker 1>when you read the case five to the person about

0:31:01.040 --> 0:31:04.760
<v Speaker 1>the person. It's an old movie bit, but it works.

0:31:04.600 --> 0:31:07.760
<v Speaker 1>It totally works. And he just says, you're you're guilty

0:31:07.760 --> 0:31:11.120
<v Speaker 1>of virtually every computer crime out there. And he says,

0:31:11.120 --> 0:31:13.560
<v Speaker 1>we're gonna wipe the sleep slate clean. We just need

0:31:13.600 --> 0:31:17.160
<v Speaker 1>you to give us Morpheus, the man who calls himself Morpheus. Right,

0:31:17.440 --> 0:31:19.880
<v Speaker 1>And that's when you get another awesome line from Kanu

0:31:20.960 --> 0:31:24.680
<v Speaker 1>when uh he says, how about I give you the finger?

0:31:24.800 --> 0:31:27.160
<v Speaker 1>And he flips them off and you give me my

0:31:27.280 --> 0:31:31.560
<v Speaker 1>phone call? Yeah, he knows his rights, but they respond

0:31:32.200 --> 0:31:35.960
<v Speaker 1>by blowing your mind. The movie responsible blowing your effing mind, Yeah,

0:31:36.000 --> 0:31:38.840
<v Speaker 1>because it's I mean, you get it gets teased out.

0:31:38.880 --> 0:31:40.320
<v Speaker 1>You see the bullet time in her run on the

0:31:40.360 --> 0:31:44.560
<v Speaker 1>wall and otherwise it's a pretty straightforward. Like, you know,

0:31:45.040 --> 0:31:48.280
<v Speaker 1>Hacker gets caught by detectives. Do you think they're detectives. Yeah,

0:31:48.360 --> 0:31:52.440
<v Speaker 1>he's being interrogated, and then they fucking seal his mouth shut, yeah,

0:31:52.560 --> 0:31:55.600
<v Speaker 1>somehow without touching him ever. Yeah, and that's when you

0:31:55.640 --> 0:31:57.440
<v Speaker 1>know you're in a different kind of movie. And then

0:31:57.480 --> 0:32:00.880
<v Speaker 1>they get out this weird little metal thing, this glass vial,

0:32:00.880 --> 0:32:03.760
<v Speaker 1>and break the glass vial and then it turns into

0:32:03.920 --> 0:32:09.200
<v Speaker 1>this weird like shrimp e squid and then robo shrimp squid,

0:32:10.600 --> 0:32:13.760
<v Speaker 1>and then it crawls into his belly button. My my

0:32:13.800 --> 0:32:17.480
<v Speaker 1>wife was cringing like on the couch, like, Yeah. One

0:32:17.480 --> 0:32:19.360
<v Speaker 1>of my favorite things about this movie is all of

0:32:19.400 --> 0:32:22.680
<v Speaker 1>that stuff, and all of it seems within the realm

0:32:22.720 --> 0:32:25.480
<v Speaker 1>of possibility. None of it is so far out there

0:32:26.200 --> 0:32:28.320
<v Speaker 1>that you're like, come on, Like when you see that

0:32:28.360 --> 0:32:31.480
<v Speaker 1>thing like literally planting a bug on someone, you think,

0:32:31.560 --> 0:32:34.760
<v Speaker 1>all right, this is the near future. Maybe that ship

0:32:34.800 --> 0:32:39.320
<v Speaker 1>will happen exactly exactly well in the that you know.

0:32:39.360 --> 0:32:44.280
<v Speaker 1>That's another weird thing about this movie. It plants itself. Yeah,

0:32:44.360 --> 0:32:47.960
<v Speaker 1>there's a part where that's where Morpheus is talking to

0:32:48.600 --> 0:32:53.000
<v Speaker 1>to Neo and he's saying, you know you believe it's

0:32:54.720 --> 0:32:58.560
<v Speaker 1>and in fact it's closer to Oh that's right, yeah, yeah, yeah,

0:32:58.560 --> 0:33:02.520
<v Speaker 1>that's right. Um. But to think that it's trying to

0:33:02.560 --> 0:33:07.440
<v Speaker 1>be our real world essentially, yeah, just adding in these

0:33:07.520 --> 0:33:10.480
<v Speaker 1>elements to that world, because like you said, it's not

0:33:10.640 --> 0:33:14.840
<v Speaker 1>so so out there. They're not flying around spaceships. You know,

0:33:15.160 --> 0:33:18.200
<v Speaker 1>you're still in the Lincoln Continental in that in the scene,

0:33:18.640 --> 0:33:21.240
<v Speaker 1>you're you're absolutely right there in Lincoln Continental. And there's

0:33:21.240 --> 0:33:23.880
<v Speaker 1>no m ib like men in black button that makes

0:33:23.920 --> 0:33:29.040
<v Speaker 1>it um. But they get that contraption out after the

0:33:29.080 --> 0:33:31.840
<v Speaker 1>bug has been planted, the team comes to help him.

0:33:31.880 --> 0:33:35.080
<v Speaker 1>Trinity gets out this weird looking contraption. That's a great

0:33:35.120 --> 0:33:37.840
<v Speaker 1>sequence rain Oh dude, in the rain. It kind of

0:33:37.880 --> 0:33:40.520
<v Speaker 1>looks like a red camera rig that's been fully set

0:33:40.600 --> 0:33:43.360
<v Speaker 1>up that has a little tube on it, and then

0:33:43.600 --> 0:33:47.480
<v Speaker 1>watching them do that. But that technology is not It

0:33:47.520 --> 0:33:50.400
<v Speaker 1>looks and feels like something you could construct with things,

0:33:50.840 --> 0:33:53.840
<v Speaker 1>and it locates it's inside you, it shocks it and

0:33:53.840 --> 0:33:56.520
<v Speaker 1>then sucks it out, like all of those things could

0:33:56.520 --> 0:34:01.960
<v Speaker 1>probably happen if you could make it weird sentient squid drone.

0:34:04.760 --> 0:34:09.719
<v Speaker 1>But again, it's like the style of that sequence with

0:34:09.760 --> 0:34:13.840
<v Speaker 1>that rain, and you know, just everything was so intense.

0:34:13.920 --> 0:34:16.359
<v Speaker 1>It wasn't just like let's get a rain tower. They

0:34:16.360 --> 0:34:19.279
<v Speaker 1>were like, let's get four rain towers and make it

0:34:19.360 --> 0:34:22.279
<v Speaker 1>rain more than you've ever seen in any movie. And

0:34:22.320 --> 0:34:25.200
<v Speaker 1>then the great shots from above of the rain coming down,

0:34:25.239 --> 0:34:28.040
<v Speaker 1>and the rain on the window looks like the matrix,

0:34:28.719 --> 0:34:30.480
<v Speaker 1>you know, because it has that green hue and it's

0:34:30.520 --> 0:34:33.040
<v Speaker 1>tickling down. There was something about the screen of the

0:34:33.040 --> 0:34:37.839
<v Speaker 1>matrix going vertically instead of horizontally that was different, and like,

0:34:37.880 --> 0:34:40.640
<v Speaker 1>I hadn't seen that before, dude, we haven't even talked

0:34:40.640 --> 0:34:44.960
<v Speaker 1>about this. The first shot of the movie is that

0:34:45.040 --> 0:34:49.640
<v Speaker 1>flashing green like doss. Yeah, the icon, the little uh

0:34:49.960 --> 0:34:52.160
<v Speaker 1>prompt or whatever. That's the first thing we see. So

0:34:52.239 --> 0:34:55.920
<v Speaker 1>we know, we understand as viewers this is a computer.

0:34:56.040 --> 0:34:58.080
<v Speaker 1>We're looking at the screen of a computer, output of

0:34:58.120 --> 0:35:00.839
<v Speaker 1>a computer. And then you know, there's a little bit

0:35:00.880 --> 0:35:05.080
<v Speaker 1>of I think type a cursor, a little bit typing

0:35:05.120 --> 0:35:07.720
<v Speaker 1>or something, and then we go immediately as the movie begins,

0:35:07.719 --> 0:35:11.759
<v Speaker 1>we go into that monitor and into the computer itself. Right,

0:35:12.600 --> 0:35:16.799
<v Speaker 1>that is exactly what the movie is doing, and that's

0:35:16.800 --> 0:35:18.520
<v Speaker 1>what exactly what the world is doing. That's what the

0:35:18.640 --> 0:35:21.560
<v Speaker 1>humans within the world are doing. It's um, it's so

0:35:21.560 --> 0:35:26.960
<v Speaker 1>self reflexive and so intentional. Yeah. This uh like we're

0:35:27.000 --> 0:35:30.880
<v Speaker 1>all going into the matrix. Yes, yes, and what does

0:35:30.920 --> 0:35:32.759
<v Speaker 1>it mean? And we're going to explore figure out what

0:35:32.800 --> 0:35:35.879
<v Speaker 1>that means as we continue along. Man, I would break

0:35:35.880 --> 0:35:37.400
<v Speaker 1>this entire movie down. I feel like this would be

0:35:37.440 --> 0:35:40.799
<v Speaker 1>a four hour episode of movie crush. Chuck, let's we

0:35:40.840 --> 0:35:44.840
<v Speaker 1>gotta hit some big things. No, no, no, this is great. Um.

0:35:45.040 --> 0:35:46.879
<v Speaker 1>So they plant the bug, he goes on the ride,

0:35:46.880 --> 0:35:50.680
<v Speaker 1>they get the bug out, and um, there's just so

0:35:50.760 --> 0:35:56.640
<v Speaker 1>much atmosphere in that scene. Uh. And it's like so

0:35:56.719 --> 0:36:00.480
<v Speaker 1>much of this movie became pop culture canon, like some

0:36:00.560 --> 0:36:03.959
<v Speaker 1>of the lines and red pill blue pill, Yeah, and

0:36:04.160 --> 0:36:08.920
<v Speaker 1>all these things became part of um bullet time obviously,

0:36:09.480 --> 0:36:12.439
<v Speaker 1>Like but that some of the dialogue became part of

0:36:12.960 --> 0:36:15.960
<v Speaker 1>pop culture history. Oh my god, people still say red

0:36:15.960 --> 0:36:18.319
<v Speaker 1>pill blue pill as a joke. I mean that became

0:36:18.320 --> 0:36:20.799
<v Speaker 1>a meme obviously. So many memes came out of this,

0:36:21.239 --> 0:36:25.160
<v Speaker 1>like in the early days of memes. Probably, Yeah, this

0:36:25.239 --> 0:36:27.680
<v Speaker 1>should just be most of the memes and just take

0:36:27.719 --> 0:36:29.560
<v Speaker 1>the returns and they just apply it to most memes

0:36:29.600 --> 0:36:33.480
<v Speaker 1>and you're done. But that's sort of the question like uh,

0:36:33.840 --> 0:36:36.680
<v Speaker 1>the red pillar, blue pill. That is that's the big

0:36:36.800 --> 0:36:39.640
<v Speaker 1>question that it's asking all of us is what would

0:36:39.680 --> 0:36:43.400
<v Speaker 1>you do? Yeah, would you want to know? Or is

0:36:43.480 --> 0:36:47.560
<v Speaker 1>ignorance bless Well, I'll tell you what if we're going

0:36:47.600 --> 0:36:50.799
<v Speaker 1>to be serious here, Yeah, if you think about the

0:36:50.800 --> 0:36:53.000
<v Speaker 1>show stuff, they don't want you to know that Ben

0:36:53.000 --> 0:36:56.640
<v Speaker 1>and I created in roughly two thousand and eight, like

0:36:56.680 --> 0:36:58.840
<v Speaker 1>working on It'll maybe a little bit in two thousand seven,

0:36:58.840 --> 0:37:03.879
<v Speaker 1>but mostly twousan eight. Um. It is highly influenced by

0:37:03.880 --> 0:37:07.400
<v Speaker 1>this because Ben and I were into you know, X

0:37:07.440 --> 0:37:12.400
<v Speaker 1>Files and Mysteries and all of the amazing shows that

0:37:12.520 --> 0:37:15.600
<v Speaker 1>came before those, everything to the Twilight Zone, all of

0:37:15.600 --> 0:37:19.919
<v Speaker 1>the mysterious things in our world. We were obsessed with,

0:37:20.040 --> 0:37:22.000
<v Speaker 1>both of us. Even when I was a little good

0:37:22.080 --> 0:37:24.480
<v Speaker 1>Christian boy, my dad and I were watching X Files

0:37:24.840 --> 0:37:27.680
<v Speaker 1>when whenever a new episode was coming out, I was

0:37:27.719 --> 0:37:32.040
<v Speaker 1>watching reruns of Oh God, there's another show that now

0:37:32.080 --> 0:37:33.719
<v Speaker 1>I'm blanking on the name of it. But it was

0:37:33.800 --> 0:37:36.560
<v Speaker 1>like the Twilight Zone, like a lot of those the

0:37:36.560 --> 0:37:40.960
<v Speaker 1>Outer Limits. I was obsessed with that, remember Out Limits.

0:37:41.000 --> 0:37:45.120
<v Speaker 1>It was great this movie, that concept of going down

0:37:45.200 --> 0:37:47.719
<v Speaker 1>the rabbit hole far enough to where you have to

0:37:47.800 --> 0:37:50.000
<v Speaker 1>decide to take a pill, like do you want the

0:37:50.000 --> 0:37:52.640
<v Speaker 1>answers or not? Yeah, the stuff they don't want you

0:37:52.640 --> 0:37:54.920
<v Speaker 1>to know is is literally that for us, it is

0:37:54.960 --> 0:37:58.520
<v Speaker 1>offering people a red pillar a blue pill. It's offering

0:37:58.520 --> 0:38:02.719
<v Speaker 1>ourselves every episode or red pillar a bluepill, but never

0:38:02.760 --> 0:38:06.400
<v Speaker 1>taking it. Does that make sense? Sure? So it's basically

0:38:06.480 --> 0:38:08.760
<v Speaker 1>putting it in front of you if you're a listener

0:38:09.080 --> 0:38:10.600
<v Speaker 1>and just saying you you decide, what do you what

0:38:10.640 --> 0:38:12.400
<v Speaker 1>do you think they are? You take that one and

0:38:12.440 --> 0:38:14.520
<v Speaker 1>keep going down that rabbit hole because you can, yeah,

0:38:15.120 --> 0:38:17.879
<v Speaker 1>or you can stay here and you know, keep working

0:38:17.920 --> 0:38:20.560
<v Speaker 1>your nine to five and keep imagining that all of

0:38:20.600 --> 0:38:23.319
<v Speaker 1>this is fine and we're gonna be okay. Yeah. I

0:38:23.360 --> 0:38:25.360
<v Speaker 1>think that's how the movie works so well though, is

0:38:25.440 --> 0:38:28.320
<v Speaker 1>because you do sort of think about this stuff afterwards,

0:38:28.320 --> 0:38:30.960
<v Speaker 1>like what I want to know? Or you know, you

0:38:31.000 --> 0:38:35.160
<v Speaker 1>saw Cipher, Yeah, Joey pants later on, he he regrets

0:38:35.160 --> 0:38:37.640
<v Speaker 1>it so much. He's a turncoat and he even has

0:38:37.680 --> 0:38:39.640
<v Speaker 1>that great line. You know, I know you're thinking what

0:38:39.680 --> 0:38:43.480
<v Speaker 1>I've been thinking. Why why didn't I take the blue bill? Exactly?

0:38:43.840 --> 0:38:45.680
<v Speaker 1>It was a blue pill? Right, Why? Yeah? I didn't

0:38:45.680 --> 0:38:48.279
<v Speaker 1>I take the blue polos. Keep you, yeah, keeps you

0:38:48.280 --> 0:38:51.120
<v Speaker 1>in the matrix because then you get that shot cutting

0:38:51.120 --> 0:38:53.560
<v Speaker 1>that steak and he has a great monologue. What does

0:38:53.560 --> 0:38:55.719
<v Speaker 1>he say, do you have it? Yeah? He says, I

0:38:55.800 --> 0:38:59.040
<v Speaker 1>know this steak doesn't exist. I know that one I

0:38:59.040 --> 0:39:01.480
<v Speaker 1>put it in my mouth. The matrix is telling my

0:39:01.560 --> 0:39:06.400
<v Speaker 1>brain that's juicy and delicious. After nine years, you know what,

0:39:06.440 --> 0:39:10.880
<v Speaker 1>I realized. Ignorance is bliss. That's right. And he eats

0:39:10.880 --> 0:39:15.280
<v Speaker 1>the steaks. Man. He's so good at this movie. Um,

0:39:15.320 --> 0:39:18.399
<v Speaker 1>I think because it asked those big questions though, and listen,

0:39:18.440 --> 0:39:22.080
<v Speaker 1>I'm not gonna sit here and say, like you know,

0:39:22.239 --> 0:39:25.200
<v Speaker 1>man in the Matrix, like all the big questions of life,

0:39:25.239 --> 0:39:28.400
<v Speaker 1>they're there, and I'm not doing the college you know,

0:39:28.480 --> 0:39:31.439
<v Speaker 1>Stoner dissertation. But it is a bit of a heady

0:39:31.480 --> 0:39:34.560
<v Speaker 1>question that lobs out there and it doesn't hammer at home.

0:39:34.560 --> 0:39:36.400
<v Speaker 1>It just sort of lets you sit with it as

0:39:36.400 --> 0:39:39.280
<v Speaker 1>an audience member. It's like, you got a choice. There's

0:39:39.280 --> 0:39:43.160
<v Speaker 1>the truth out there and uh, someone like Neo wants

0:39:43.200 --> 0:39:46.319
<v Speaker 1>to know and they knew that because he's the one.

0:39:46.719 --> 0:39:50.400
<v Speaker 1>Well Morpheus really had a hunch. Uh, he really felt

0:39:50.400 --> 0:39:52.600
<v Speaker 1>it in his bones. But this is where the movie

0:39:52.640 --> 0:39:56.319
<v Speaker 1>goes off the rails. Right after that, he wakes up

0:39:56.480 --> 0:39:59.319
<v Speaker 1>in the matrix pods or I guess not matrix pods

0:39:59.360 --> 0:40:01.960
<v Speaker 1>the real world. Yeah, but they are No, they are

0:40:02.040 --> 0:40:05.320
<v Speaker 1>matrix pods because each one of those is a connection

0:40:05.360 --> 0:40:08.919
<v Speaker 1>to the matrix. That's you know, yeah, making the human

0:40:09.360 --> 0:40:12.200
<v Speaker 1>believe they're in there. But that whole part with him

0:40:12.520 --> 0:40:17.360
<v Speaker 1>bald and shaved, no eyebrows and getting that thing comes

0:40:17.360 --> 0:40:19.800
<v Speaker 1>out and all the plugs come out of his body

0:40:19.840 --> 0:40:23.400
<v Speaker 1>and he sucked down, it was just like fucking mind blowing.

0:40:23.680 --> 0:40:26.000
<v Speaker 1>The first time I saw it, dude, it was it

0:40:26.080 --> 0:40:28.480
<v Speaker 1>still holds up. Oh, it's completely yeah. I was like,

0:40:28.840 --> 0:40:33.200
<v Speaker 1>ah last night. It looks amazing on screen, It really does,

0:40:33.320 --> 0:40:37.400
<v Speaker 1>and the the effects are so convincing. Except for maybe

0:40:37.400 --> 0:40:41.360
<v Speaker 1>that the robot um I call it what I called it,

0:40:41.400 --> 0:40:45.360
<v Speaker 1>the extractor robot or whatever it was. It looks okay,

0:40:45.719 --> 0:40:47.640
<v Speaker 1>it looks all right. It looks better again than a

0:40:47.640 --> 0:40:50.040
<v Speaker 1>lot of the episode one stuff when it came out.

0:40:50.120 --> 0:40:52.520
<v Speaker 1>But but you know, it's a little odd and there's

0:40:52.520 --> 0:40:56.360
<v Speaker 1>a lot going on with it. But it took me

0:40:56.360 --> 0:40:58.720
<v Speaker 1>away a little bit. But the shots of the pods

0:40:58.760 --> 0:41:02.239
<v Speaker 1>and the towers and him, like the actual physical pod

0:41:02.360 --> 0:41:06.200
<v Speaker 1>that they created with all that stuff in the score. Yeah,

0:41:06.280 --> 0:41:08.719
<v Speaker 1>my life. That reveal of how big those towers are

0:41:09.320 --> 0:41:12.520
<v Speaker 1>and how many people there are, and that little baby

0:41:13.600 --> 0:41:16.040
<v Speaker 1>hooked up to those tubes. Now that you have kids,

0:41:16.840 --> 0:41:20.040
<v Speaker 1>much different deal. It really is, you know, it really is.

0:41:20.280 --> 0:41:23.399
<v Speaker 1>But he says, you know, uh, he comes, he comes

0:41:23.440 --> 0:41:26.120
<v Speaker 1>out of it and well, he says, to turn you

0:41:26.120 --> 0:41:28.200
<v Speaker 1>into a and he holds up the battery and that's

0:41:28.239 --> 0:41:31.000
<v Speaker 1>when it's all you finally understand what's going on. That's

0:41:31.000 --> 0:41:34.120
<v Speaker 1>when he has his freak out and you can't handle that.

0:41:34.400 --> 0:41:37.480
<v Speaker 1>He can't. I couldn't handle that ship. What you want

0:41:37.480 --> 0:41:39.480
<v Speaker 1>me to be a dr cell? That's what that's what

0:41:39.600 --> 0:41:42.239
<v Speaker 1>I am. I'm equal to a nine volte or whatever.

0:41:42.280 --> 0:41:47.000
<v Speaker 1>It was great fucking shot where it shows, uh, you know,

0:41:47.040 --> 0:41:52.200
<v Speaker 1>welcome to the world of the real Yeah. So it

0:41:52.239 --> 0:41:54.279
<v Speaker 1>goes all the way down and they're just sitting in

0:41:54.320 --> 0:41:57.239
<v Speaker 1>those chairs in the waste land. Yeah, but he more

0:41:57.239 --> 0:41:59.480
<v Speaker 1>of you is it's the old well again, Hey, it's

0:41:59.520 --> 0:42:02.440
<v Speaker 1>a little core the only cornyline I remember when it,

0:42:02.680 --> 0:42:05.520
<v Speaker 1>you know, it cranes down to him and he goes,

0:42:05.800 --> 0:42:12.920
<v Speaker 1>welcome to the desert. Yeah, welcome to the Desert. All right, Hey,

0:42:13.040 --> 0:42:14.799
<v Speaker 1>I'm not saying this as the best acting in it

0:42:14.880 --> 0:42:17.440
<v Speaker 1>ever or it's not like kind of corny at times,

0:42:17.480 --> 0:42:20.680
<v Speaker 1>but that's I think this movie exists as a Saturday

0:42:20.680 --> 0:42:24.719
<v Speaker 1>afternoon B movie in some ways. It's just gussied up, definitely,

0:42:25.080 --> 0:42:26.480
<v Speaker 1>you know, you have to take it for what it is.

0:42:26.560 --> 0:42:28.680
<v Speaker 1>But it is so much smarter. The movie itself is

0:42:28.680 --> 0:42:32.600
<v Speaker 1>so much smarter there. I really think there's so much

0:42:32.719 --> 0:42:38.040
<v Speaker 1>time spent thinking about the writing and then going into

0:42:38.120 --> 0:42:41.400
<v Speaker 1>the direct our direction and all the everything. It's uh,

0:42:41.400 --> 0:42:43.480
<v Speaker 1>it's a vision. It's not just something that was cobbled

0:42:43.520 --> 0:42:46.480
<v Speaker 1>together by different people with a script that they're trying

0:42:46.480 --> 0:42:50.120
<v Speaker 1>to make come to life. You know. Well, here's the question, Matt,

0:42:50.600 --> 0:42:52.560
<v Speaker 1>is this the only good movie that they've ever made?

0:42:55.840 --> 0:42:59.160
<v Speaker 1>Because I really did not like the second in the

0:42:59.160 --> 0:43:02.520
<v Speaker 1>third Matrix movie these and in fact I don't remember

0:43:02.520 --> 0:43:04.759
<v Speaker 1>them at all. They had such little impact on me

0:43:05.280 --> 0:43:08.560
<v Speaker 1>that this sort of exists in my mind like it

0:43:08.600 --> 0:43:12.360
<v Speaker 1>should have. Which is one great movie that ends in

0:43:12.400 --> 0:43:15.600
<v Speaker 1>the most badass why you could imagine. But how it's done?

0:43:16.000 --> 0:43:20.280
<v Speaker 1>How do you only have one Matrix? When we think

0:43:20.400 --> 0:43:23.200
<v Speaker 1>the budget, at least according to IMDb, is around sixty

0:43:23.200 --> 0:43:25.440
<v Speaker 1>three million dollars, not a lot for the time, not

0:43:25.560 --> 0:43:28.560
<v Speaker 1>a ton, and they achieved what they did, and the

0:43:28.600 --> 0:43:31.680
<v Speaker 1>worldwide gross at least according to IMDb is four hundred

0:43:31.719 --> 0:43:35.680
<v Speaker 1>and sixty four hundred and sixty three smash smash hit.

0:43:36.120 --> 0:43:39.200
<v Speaker 1>So I mean Bound that they did before this was

0:43:39.239 --> 0:43:41.440
<v Speaker 1>a good movie. Did you see that one? I have

0:43:41.480 --> 0:43:44.160
<v Speaker 1>not seen. Bound Found was good and they and they

0:43:44.200 --> 0:43:46.319
<v Speaker 1>made their name on that film, but then they went

0:43:46.320 --> 0:43:48.200
<v Speaker 1>off to they obviously got more money and could do

0:43:48.239 --> 0:43:50.719
<v Speaker 1>stuff they really wanted to do, like sci fi, but

0:43:50.840 --> 0:43:53.200
<v Speaker 1>like the Matrix two and three weren't very good. Speed

0:43:53.280 --> 0:43:55.160
<v Speaker 1>racer I know has it's like a cult classic now

0:43:55.520 --> 0:43:57.840
<v Speaker 1>and they're people that will be like, no, it was genius,

0:43:57.880 --> 0:44:02.120
<v Speaker 1>but it was a bomb Jupiter sending my buddy Scotty

0:44:02.200 --> 0:44:04.319
<v Speaker 1>and I think you know Scotty, we went and saw

0:44:04.360 --> 0:44:07.160
<v Speaker 1>that together as a joke and had a ball laughing

0:44:07.200 --> 0:44:09.960
<v Speaker 1>at it. But it was bad. I've never seen it

0:44:10.000 --> 0:44:12.640
<v Speaker 1>on purpose, because I you should because it's funny. I

0:44:12.680 --> 0:44:15.919
<v Speaker 1>was terrified when I watched the trailer because I want

0:44:15.960 --> 0:44:19.439
<v Speaker 1>to believe. I want to believe in in the Wood

0:44:19.480 --> 0:44:22.799
<v Speaker 1>how skis, But well, Cloud Outlets was the other one.

0:44:22.840 --> 0:44:25.440
<v Speaker 1>And I didn't see it, but that got panned too.

0:44:25.800 --> 0:44:29.680
<v Speaker 1>So what do you say about these two people that, um,

0:44:29.800 --> 0:44:31.799
<v Speaker 1>I don't know, did they have one in them? What's

0:44:31.840 --> 0:44:33.799
<v Speaker 1>the fourth one going to be? Like? I don't know, man,

0:44:33.960 --> 0:44:36.520
<v Speaker 1>I don't know what happens? What happens in Hollywood? When

0:44:36.560 --> 0:44:39.200
<v Speaker 1>you make a movie like this, what happens to you?

0:44:39.200 --> 0:44:40.880
<v Speaker 1>You know what I mean? Like person at a on

0:44:40.920 --> 0:44:44.800
<v Speaker 1>a personal level and you hit that success off almost

0:44:44.840 --> 0:44:48.319
<v Speaker 1>off the bat? Yeah, sure, second film like what what

0:44:48.480 --> 0:44:50.120
<v Speaker 1>happens to you? Can you go from there? Yeah? What

0:44:50.120 --> 0:44:53.960
<v Speaker 1>happens to your circle? What happens to your creative process? Like,

0:44:54.719 --> 0:44:57.399
<v Speaker 1>I don't know. All I know is that the next

0:44:57.440 --> 0:44:59.960
<v Speaker 1>two Matrix movies were attempting to build on a war

0:45:00.000 --> 0:45:03.359
<v Speaker 1>world that people really liked, that resonated with a lot

0:45:03.440 --> 0:45:07.160
<v Speaker 1>of people and with characters that we wanted to spend

0:45:07.200 --> 0:45:11.840
<v Speaker 1>more time with. And they had some they expanded on

0:45:11.880 --> 0:45:14.960
<v Speaker 1>some ideas, Like the things I remember from the second

0:45:15.000 --> 0:45:18.759
<v Speaker 1>and third movies the most are this place called Eden

0:45:19.880 --> 0:45:22.120
<v Speaker 1>that's referenced in the first movie several times, the last

0:45:22.160 --> 0:45:26.520
<v Speaker 1>human city is underground, Zion, your right not eating apologies Zion,

0:45:27.280 --> 0:45:30.520
<v Speaker 1>And when we actually get to go to Zion in

0:45:30.560 --> 0:45:33.719
<v Speaker 1>the movies. It's better left than the mind. Yeah, it's

0:45:33.760 --> 0:45:37.160
<v Speaker 1>just not it doesn't. It's not the same. Yeah. That's

0:45:37.200 --> 0:45:40.439
<v Speaker 1>the deal I think is that Zion as it sets

0:45:40.520 --> 0:45:43.360
<v Speaker 1>up the concept in this film works well because you

0:45:43.400 --> 0:45:47.040
<v Speaker 1>never see it and it exists in your brain and

0:45:47.120 --> 0:45:49.959
<v Speaker 1>there's sometimes you don't want to go there and see

0:45:49.960 --> 0:45:51.919
<v Speaker 1>that stuff. And you definitely don't want to go see

0:45:51.960 --> 0:45:56.719
<v Speaker 1>a giant, sweaty orgy. That's super slow motion that part.

0:45:57.520 --> 0:46:01.319
<v Speaker 1>And and you're especially for me, So okay, get back

0:46:01.320 --> 0:46:04.760
<v Speaker 1>to a little Christian boy kid. You know, just because

0:46:04.760 --> 0:46:07.080
<v Speaker 1>I took my religion classes and I you know, changed

0:46:07.120 --> 0:46:09.319
<v Speaker 1>my mind about my own personal beliefs, didn't mean that

0:46:09.440 --> 0:46:14.680
<v Speaker 1>a lot of those bed rock feelings changed. Like I

0:46:14.760 --> 0:46:17.759
<v Speaker 1>wasn't like, oh man, sex is now the best thing

0:46:17.840 --> 0:46:20.319
<v Speaker 1>ever because that was this little it's not an overnight thing.

0:46:20.440 --> 0:46:24.600
<v Speaker 1>We're both still unpacking all that stuff. Yeah, and um,

0:46:24.680 --> 0:46:27.120
<v Speaker 1>when the second movie comes out a little later, you

0:46:27.160 --> 0:46:30.120
<v Speaker 1>have this thing happened. And for me, it was such

0:46:30.360 --> 0:46:34.000
<v Speaker 1>a curl up and you know, and get away from

0:46:34.000 --> 0:46:37.520
<v Speaker 1>this movie because I could For me, I couldn't handle

0:46:37.560 --> 0:46:40.680
<v Speaker 1>and this just me personally, But um, for a kid

0:46:40.680 --> 0:46:43.960
<v Speaker 1>whose mind was so blown and altered and changed, and

0:46:44.680 --> 0:46:47.759
<v Speaker 1>from the first movie, that single thing stuck in my

0:46:47.800 --> 0:46:51.919
<v Speaker 1>mind so deeply that I don't even remember the big

0:46:52.040 --> 0:46:54.800
<v Speaker 1>robot fightings. I think there's a giant robot fight scene

0:46:54.800 --> 0:46:58.560
<v Speaker 1>at some point in this um where the squids are coming,

0:46:58.600 --> 0:47:02.200
<v Speaker 1>but the humans in Zion have these giant mix but

0:47:02.280 --> 0:47:04.880
<v Speaker 1>I can't remember if that's real or not. I feel

0:47:04.920 --> 0:47:06.800
<v Speaker 1>like that happened, but I don't even know. Man, they

0:47:06.880 --> 0:47:09.160
<v Speaker 1>had such a little impact on me. I was living

0:47:09.160 --> 0:47:10.680
<v Speaker 1>in l A by the time those came out, and

0:47:10.680 --> 0:47:13.240
<v Speaker 1>I was excited to go see him, and I remember

0:47:13.360 --> 0:47:16.520
<v Speaker 1>the feeling of disappointment when I left. I was just like, oh, man,

0:47:17.000 --> 0:47:20.000
<v Speaker 1>they just fucking dropped the ball. Oh I remember what

0:47:20.040 --> 0:47:25.239
<v Speaker 1>the scene was. All of the agents Smiths. They had

0:47:25.280 --> 0:47:27.759
<v Speaker 1>a bunch of them, right, and then Neo became c

0:47:27.880 --> 0:47:30.520
<v Speaker 1>G I for fight scenes, and because they got a

0:47:30.520 --> 0:47:34.960
<v Speaker 1>bigger budget or something, or maybe Kiano couldn't do the

0:47:35.000 --> 0:47:37.719
<v Speaker 1>things that intimidating the one agent Smith. Oh you know

0:47:37.719 --> 0:47:40.960
<v Speaker 1>what I remember about those movies, dude, I can pinpoint

0:47:41.000 --> 0:47:46.040
<v Speaker 1>why I had a They didn't engage me. Is a

0:47:46.120 --> 0:47:48.879
<v Speaker 1>person that can't be beat fighting, A person that can't

0:47:48.880 --> 0:47:53.240
<v Speaker 1>be beat isn't dramatic. There were no steaks. I remember

0:47:53.239 --> 0:47:56.920
<v Speaker 1>feeling that, like they're both so powerful and there's so

0:47:56.960 --> 0:48:00.319
<v Speaker 1>many of them that it's like it's boring. Yeah, this

0:48:00.400 --> 0:48:04.480
<v Speaker 1>wasn't boring because you ran from the agents. They were superior,

0:48:05.160 --> 0:48:08.839
<v Speaker 1>and the drama is Neo in the end, which we'll

0:48:08.880 --> 0:48:13.640
<v Speaker 1>get to achieving uh power over them. Yeah, exactly, that

0:48:13.719 --> 0:48:16.799
<v Speaker 1>was the drama. Like without that, like, it's no fun

0:48:16.800 --> 0:48:19.800
<v Speaker 1>to watch Superman fight Superman. Dude, you're still right because

0:48:19.880 --> 0:48:23.160
<v Speaker 1>the the stakes ramp up so well in this movie,

0:48:23.960 --> 0:48:27.239
<v Speaker 1>with the Oracle telling Neo that he's not the one,

0:48:27.360 --> 0:48:29.319
<v Speaker 1>well he's not the one, but also that he's either

0:48:29.440 --> 0:48:33.280
<v Speaker 1>going to have to let Morpheus die or sacrifice himself,

0:48:34.040 --> 0:48:37.759
<v Speaker 1>so we know that death is going to occur. Then

0:48:37.880 --> 0:48:42.000
<v Speaker 1>when the betrayal occurs and we watch all of the

0:48:42.640 --> 0:48:45.000
<v Speaker 1>characters that we've been falling around dying off, like they're

0:48:45.000 --> 0:48:47.560
<v Speaker 1>all they all just started dying off, and we realize,

0:48:47.560 --> 0:48:50.319
<v Speaker 1>oh my god, oh my god, like maybe Neo really

0:48:50.360 --> 0:48:54.440
<v Speaker 1>could die. And again we know that because he's a

0:48:54.960 --> 0:48:57.360
<v Speaker 1>we know that he can't die because he's our protagonist

0:48:57.440 --> 0:49:00.600
<v Speaker 1>in this movie. If he dies, then the twenty minutes

0:49:00.640 --> 0:49:02.239
<v Speaker 1>that's left in the movie, Like what is that going

0:49:02.320 --> 0:49:06.040
<v Speaker 1>to be from a storytelling perspective, But at the same time,

0:49:06.280 --> 0:49:08.279
<v Speaker 1>you get that feeling when you if you're truly lost

0:49:08.280 --> 0:49:12.200
<v Speaker 1>in the moment, like Okay, maybe he really could die. Yeah, um, yeah,

0:49:12.239 --> 0:49:15.440
<v Speaker 1>it's it's it's a it's they're legitimate threats in this movie,

0:49:15.920 --> 0:49:18.200
<v Speaker 1>and those were not I didn't feel like present in

0:49:18.239 --> 0:49:25.600
<v Speaker 1>the other ones. Yeah. So Neo boards the Nebuchadnezzar. Um.

0:49:25.760 --> 0:49:28.560
<v Speaker 1>One of the great lines to me that kind of

0:49:28.560 --> 0:49:31.319
<v Speaker 1>blew my mind. Why did my eyes hurt? Yes, you've

0:49:31.360 --> 0:49:34.680
<v Speaker 1>never used them before. It's just like and he's you know,

0:49:34.760 --> 0:49:37.080
<v Speaker 1>he's never used his muscles, and he's all loaded with

0:49:37.120 --> 0:49:40.520
<v Speaker 1>the the pins sending electric signals like I guess to

0:49:40.560 --> 0:49:43.640
<v Speaker 1>just stimulate his muscles. Yeah, so he can fucking move

0:49:44.400 --> 0:49:46.960
<v Speaker 1>and he has that. There's a great first person point

0:49:46.960 --> 0:49:50.880
<v Speaker 1>of view shot when he's walking around the Nebuchadnezzar. Yes. Um.

0:49:50.960 --> 0:49:52.879
<v Speaker 1>And the only thing that bugs me about this movie

0:49:52.880 --> 0:49:54.319
<v Speaker 1>and even bug me at the time, or all the

0:49:54.360 --> 0:49:57.560
<v Speaker 1>dumb little nicknames, it's like this is tank and dozer

0:49:57.600 --> 0:50:03.880
<v Speaker 1>and mouse and Skippy and and Sharky and Electro what

0:50:04.000 --> 0:50:09.439
<v Speaker 1>was her name? Switch. I think Switch, Yeah, I want

0:50:09.440 --> 0:50:12.840
<v Speaker 1>to ask you something. When they go back into the Matrix,

0:50:12.880 --> 0:50:17.839
<v Speaker 1>at some point they it's when they get betrayed, so

0:50:18.040 --> 0:50:20.919
<v Speaker 1>they're going to go see the oracle and everything. When

0:50:20.920 --> 0:50:23.600
<v Speaker 1>they first enter the Matrix again, they've got this panning

0:50:23.719 --> 0:50:26.759
<v Speaker 1>shot or it's a it's not at wow. I don't

0:50:26.760 --> 0:50:31.520
<v Speaker 1>know why I'm not. They're circling around. So they're on

0:50:31.520 --> 0:50:34.319
<v Speaker 1>a track and they're circling around a telephone that's ringing yes.

0:50:34.840 --> 0:50:36.440
<v Speaker 1>And as they're they go around and they get to

0:50:36.480 --> 0:50:39.279
<v Speaker 1>the other side, and then the our whole Matrix team

0:50:39.320 --> 0:50:43.399
<v Speaker 1>is just there inside the matrix. Everybody has on either

0:50:43.440 --> 0:50:48.200
<v Speaker 1>a black suit or black leather or black latex or

0:50:48.200 --> 0:50:52.680
<v Speaker 1>black everything, but Switch is wearing an all white outfit,

0:50:53.040 --> 0:50:56.440
<v Speaker 1>the only character wearing the only white hair. Yeah, And

0:50:56.520 --> 0:50:59.680
<v Speaker 1>I think it's this really interesting thing where they didn't

0:50:59.719 --> 0:51:03.719
<v Speaker 1>have to do that, right, but within the Matrix, you're

0:51:03.760 --> 0:51:07.399
<v Speaker 1>represented as your you know, the your vision of your

0:51:07.400 --> 0:51:12.200
<v Speaker 1>best self, you know, your ideal you, and since you know,

0:51:12.239 --> 0:51:14.040
<v Speaker 1>I don't know who made that character decision, if it

0:51:14.080 --> 0:51:16.719
<v Speaker 1>was written or something, but I just remember thinking it

0:51:16.760 --> 0:51:19.000
<v Speaker 1>was really interesting and I wondered if there were something

0:51:19.040 --> 0:51:21.279
<v Speaker 1>more to it, but I don't think there was. I

0:51:21.320 --> 0:51:24.440
<v Speaker 1>think it was just existing in the rules of the

0:51:24.520 --> 0:51:28.120
<v Speaker 1>movie and the world. And she was literally a switch. Yeah,

0:51:28.400 --> 0:51:34.760
<v Speaker 1>she switched to white and blond. Just really cool. Um.

0:51:34.920 --> 0:51:38.399
<v Speaker 1>The the Construct, let's talk about that sequence because that's

0:51:38.400 --> 0:51:39.840
<v Speaker 1>one of the best parts of the movie to me,

0:51:39.920 --> 0:51:41.719
<v Speaker 1>is when they set up the Construct that became so

0:51:41.880 --> 0:51:45.799
<v Speaker 1>iconic and copied in fucking TV commercials, Like how many

0:51:45.800 --> 0:51:49.600
<v Speaker 1>TV commercials did you see rip off the white room

0:51:49.640 --> 0:51:52.279
<v Speaker 1>with the stuff flying in? I mean it was like

0:51:52.520 --> 0:51:56.440
<v Speaker 1>sucking car commercials and ship It was so annoying, but

0:51:56.840 --> 0:51:59.560
<v Speaker 1>at the time it was so iconic, and that whole

0:51:59.680 --> 0:52:04.520
<v Speaker 1>set up is just so great. With the with the

0:52:04.680 --> 0:52:06.799
<v Speaker 1>learn well, first of all, we learned all about the

0:52:06.840 --> 0:52:09.600
<v Speaker 1>matrix that we set up. Ai Ai destroyed the human race,

0:52:10.080 --> 0:52:13.080
<v Speaker 1>wed what black in the sky or scorched the sky

0:52:13.680 --> 0:52:16.080
<v Speaker 1>because of solar power. It's such a such a great

0:52:16.120 --> 0:52:20.600
<v Speaker 1>set up, very simple but like believable and cool. Um.

0:52:20.680 --> 0:52:22.440
<v Speaker 1>But then you have the Construct and that whole training

0:52:22.480 --> 0:52:25.120
<v Speaker 1>sequence that's like one of the best parts of the movie.

0:52:25.480 --> 0:52:30.200
<v Speaker 1>I just learned kunk fo, I know, kung fu. Yeah, whatever,

0:52:33.320 --> 0:52:39.200
<v Speaker 1>it's such a jitsu. I'm gonna learn jujit jujitsu, dude,

0:52:39.239 --> 0:52:41.920
<v Speaker 1>and uh is it tank? He's like, hey, Mikey, I

0:52:41.960 --> 0:52:44.759
<v Speaker 1>think he likes it. Yeah, I gotta throw that in there.

0:52:44.760 --> 0:52:49.279
<v Speaker 1>I guess very corny. But the fight scene, you know,

0:52:49.360 --> 0:52:53.720
<v Speaker 1>it's just it's just two guys in a room fighting. Um,

0:52:53.760 --> 0:52:57.160
<v Speaker 1>but it's so badass because the wire work is stuff

0:52:57.160 --> 0:53:00.000
<v Speaker 1>that you like. I guess you'd seen like Crouching Tige

0:53:00.120 --> 0:53:03.040
<v Speaker 1>or um then you knew it, or if you were

0:53:03.080 --> 0:53:06.960
<v Speaker 1>a fan of Japanese martial arts. But if you weren't,

0:53:06.960 --> 0:53:08.680
<v Speaker 1>you had never seen anything like that. Oh yeah, it

0:53:08.680 --> 0:53:10.880
<v Speaker 1>was brand new, like they totally ripped it off, but

0:53:11.000 --> 0:53:12.440
<v Speaker 1>only if you had seen that. So but I'll tell

0:53:12.480 --> 0:53:14.600
<v Speaker 1>you what, none of that would have matter, no matter

0:53:14.640 --> 0:53:17.720
<v Speaker 1>how cool it looks moving on the screen and everything.

0:53:17.760 --> 0:53:21.239
<v Speaker 1>Can you imagine, um, if it was silent or just

0:53:21.400 --> 0:53:25.920
<v Speaker 1>room tone or just the music without the the impact

0:53:26.120 --> 0:53:30.000
<v Speaker 1>of the sound effects. Yeah. Yeah, there's a moment where

0:53:30.040 --> 0:53:33.760
<v Speaker 1>I think it's Neo's No, it's Morpheus. Is like throwing

0:53:33.800 --> 0:53:36.800
<v Speaker 1>a knee. He's like jumping and throwing a knee and

0:53:37.320 --> 0:53:41.680
<v Speaker 1>it lands and hits the floor. But I mean it's

0:53:41.680 --> 0:53:45.680
<v Speaker 1>not just a little or a Yeah, it's so powerful Yeah,

0:53:45.800 --> 0:53:49.239
<v Speaker 1>the sound design was so great and the we we

0:53:49.320 --> 0:53:52.640
<v Speaker 1>need to shout out Young Whooping, who was the choreographer

0:53:53.239 --> 0:53:55.799
<v Speaker 1>for these fight scenes. And there was there was something

0:53:55.800 --> 0:53:58.000
<v Speaker 1>you know, I hadn't seen. I don't know which martial

0:53:58.080 --> 0:53:59.920
<v Speaker 1>arts were involved. I suppose it was probably a lot

0:54:00.080 --> 0:54:03.439
<v Speaker 1>of him combined, but I had never seen those those

0:54:03.560 --> 0:54:07.120
<v Speaker 1>moves with like the straight arm chops and the backhand chops,

0:54:07.560 --> 0:54:09.279
<v Speaker 1>and I've never seen ship like that before, so it

0:54:09.320 --> 0:54:11.720
<v Speaker 1>just seemed totally original to me. In those fight scenes,

0:54:11.760 --> 0:54:15.160
<v Speaker 1>they are switching styles, yeah, right the entire time, and

0:54:15.200 --> 0:54:17.279
<v Speaker 1>they do it on purpose to show that he's learned

0:54:17.280 --> 0:54:21.360
<v Speaker 1>all that. Yeah, they just learned everything. Yeah, And I

0:54:21.360 --> 0:54:24.960
<v Speaker 1>remember what Diana exclaimed something when he's going through the

0:54:25.000 --> 0:54:28.160
<v Speaker 1>training program before they actually get into the fight scene,

0:54:28.280 --> 0:54:30.960
<v Speaker 1>and you know, he's just it's right before he says,

0:54:31.320 --> 0:54:33.359
<v Speaker 1>I know kung fu. Yeah, he's kind of scrolling through

0:54:33.360 --> 0:54:36.400
<v Speaker 1>the options. One of them that he's teaching him is

0:54:36.600 --> 0:54:42.000
<v Speaker 1>drunken boxing, and Diana's like, drunken boxing bar fighting basically. Well,

0:54:42.000 --> 0:54:44.200
<v Speaker 1>I mean but no, it's a it's a style. It's

0:54:44.200 --> 0:54:47.239
<v Speaker 1>a crazy style of throwing your opponent off because of

0:54:47.320 --> 0:54:49.680
<v Speaker 1>the way you move. Oh, I thought. It just meant

0:54:49.719 --> 0:54:52.680
<v Speaker 1>like in every scenario you're covered. If you're drunk and

0:54:52.719 --> 0:54:54.360
<v Speaker 1>you're in a bar fight, then you know how to

0:54:54.360 --> 0:54:56.120
<v Speaker 1>do that too. You know how to smash a picture

0:54:56.160 --> 0:55:01.200
<v Speaker 1>on a guy's head style. Okay, yeah, uh, school, I

0:55:01.280 --> 0:55:04.320
<v Speaker 1>learned something. Um. But at the end of the training session,

0:55:04.440 --> 0:55:06.960
<v Speaker 1>you know that, we get to the jump scene, which

0:55:07.040 --> 0:55:09.839
<v Speaker 1>is fun and great, but it's also like a big

0:55:09.880 --> 0:55:13.560
<v Speaker 1>pivotal point in the film because there's so much tension.

0:55:13.560 --> 0:55:15.880
<v Speaker 1>They do such a good job of the tension in

0:55:15.920 --> 0:55:19.280
<v Speaker 1>that room when everyone's you know, and you see Trinity

0:55:19.360 --> 0:55:22.160
<v Speaker 1>like come on, come on, like she wants him to

0:55:22.200 --> 0:55:24.959
<v Speaker 1>do it because he's the one. Nobody makes their first

0:55:25.040 --> 0:55:28.040
<v Speaker 1>jump and he didn't make his first job. No, he didn't.

0:55:28.120 --> 0:55:30.520
<v Speaker 1>They tease it out just right, like the fact that

0:55:30.520 --> 0:55:34.839
<v Speaker 1>he's not the one. Yeah, you have enough doubt. You've

0:55:34.880 --> 0:55:36.760
<v Speaker 1>got to have that doubt for it to have impact

0:55:36.800 --> 0:55:40.480
<v Speaker 1>at the end. And again that's playing with It's playing

0:55:40.520 --> 0:55:44.400
<v Speaker 1>on so many levels, just that concept of doubt, doubting

0:55:44.480 --> 0:55:47.480
<v Speaker 1>that Neo is the one, doubting that you know personally

0:55:47.520 --> 0:55:49.279
<v Speaker 1>you are the one, and whatever your struggles are, and

0:55:49.320 --> 0:55:52.440
<v Speaker 1>whenever you're going through doubting that you know, if you

0:55:52.480 --> 0:55:56.759
<v Speaker 1>take it biblically, that Jesus or whoever, whoever we're going

0:55:56.800 --> 0:56:01.680
<v Speaker 1>to choose as the one is the one. Um. It's again,

0:56:01.719 --> 0:56:07.120
<v Speaker 1>it feels to me like this movie really is going

0:56:07.520 --> 0:56:11.160
<v Speaker 1>into some other world, some other thing for me. When

0:56:11.200 --> 0:56:14.600
<v Speaker 1>I'm watching this movie, they were after something deeper for sure. Yeah,

0:56:14.680 --> 0:56:17.080
<v Speaker 1>and I'm not saying it's like some deep philosophical statement

0:56:17.120 --> 0:56:20.840
<v Speaker 1>about everything, but like they were trying for something a

0:56:20.880 --> 0:56:24.200
<v Speaker 1>little bit more than your standard sci fi stuff. You know.

0:56:24.239 --> 0:56:26.640
<v Speaker 1>Laurence Fishburne when he read the script this is again

0:56:26.680 --> 0:56:30.360
<v Speaker 1>from my wife's trivia lookings. Uh, he didn't believe this

0:56:30.400 --> 0:56:33.040
<v Speaker 1>movie would get made because he thought he was too smart.

0:56:33.120 --> 0:56:36.880
<v Speaker 1>He said, it's too smart. There's like, it's just too

0:56:36.960 --> 0:56:39.680
<v Speaker 1>much going on here. It's not gonna get made. But

0:56:39.719 --> 0:56:44.440
<v Speaker 1>they combine it with these great, great, great action sequences,

0:56:44.480 --> 0:56:47.400
<v Speaker 1>some of the best ever. Yeah. I don't know how

0:56:47.440 --> 0:56:51.920
<v Speaker 1>you talk some of that stuff. You know, there's another

0:56:51.960 --> 0:56:56.000
<v Speaker 1>thing we could talk about here, which is the possible

0:56:57.080 --> 0:57:00.440
<v Speaker 1>the influences that this movie has had on people throughout

0:57:01.400 --> 0:57:03.719
<v Speaker 1>some of the more negative things that have occurred. There

0:57:03.760 --> 0:57:06.640
<v Speaker 1>are some of the big negative things that image of

0:57:06.719 --> 0:57:10.439
<v Speaker 1>walking into that building carrying all those guns and their

0:57:10.520 --> 0:57:13.719
<v Speaker 1>trench coats and all that stuff. That image that we

0:57:14.120 --> 0:57:19.919
<v Speaker 1>saw repeated that kind of thought about that. Well, yeah,

0:57:19.960 --> 0:57:22.120
<v Speaker 1>I mean it's true that it seems to have influence.

0:57:22.240 --> 0:57:26.360
<v Speaker 1>I'm working on a show, speaking of other shows about

0:57:26.400 --> 0:57:31.360
<v Speaker 1>a kid that got heavily influenced by this movie and

0:57:31.640 --> 0:57:35.960
<v Speaker 1>he's true story. Send it in court, um after a

0:57:36.040 --> 0:57:39.919
<v Speaker 1>lot of people lost their lives. Yeah, and he talked

0:57:39.960 --> 0:57:42.240
<v Speaker 1>about the matrix was big for him. And again it's

0:57:42.320 --> 0:57:46.000
<v Speaker 1>that idea that the world you think you live in

0:57:46.120 --> 0:57:49.760
<v Speaker 1>right now is not the real world. There's a deeper

0:57:49.840 --> 0:57:52.800
<v Speaker 1>level to this and if you can access to that,

0:57:53.160 --> 0:57:55.880
<v Speaker 1>none of these people matter because there's a there's a

0:57:56.120 --> 0:58:00.480
<v Speaker 1>part where they're in the remember the Lady Red or

0:58:00.520 --> 0:58:04.560
<v Speaker 1>the woman in Red. They're in that training simulation and

0:58:04.640 --> 0:58:09.480
<v Speaker 1>Morpheus is teaching Neo that all of these people everyone here.

0:58:09.520 --> 0:58:12.920
<v Speaker 1>If they're not awake, essentially, if they're not a part

0:58:12.960 --> 0:58:15.440
<v Speaker 1>of our team, they are an agent. They are a

0:58:15.520 --> 0:58:18.400
<v Speaker 1>potential agent because the agents can switch between any person

0:58:18.440 --> 0:58:24.600
<v Speaker 1>that's there. That concept is pretty dangerous to somebody who

0:58:24.640 --> 0:58:27.880
<v Speaker 1>maybe is a little less stable or their worldview is

0:58:28.400 --> 0:58:31.200
<v Speaker 1>straight up mentally ill. Yeah, that everyone else is the enemy?

0:58:31.600 --> 0:58:35.600
<v Speaker 1>Yeah wow, yeah, I never thought about that. Well, it's not. Again,

0:58:35.680 --> 0:58:37.920
<v Speaker 1>it's not like this is the only movie that has

0:58:38.000 --> 0:58:40.760
<v Speaker 1>that concept. It's just at the time for what it

0:58:40.920 --> 0:58:44.520
<v Speaker 1>was for the other themes that is dealing with it

0:58:44.560 --> 0:58:48.280
<v Speaker 1>seemed to resonate with kids, uh and people my age,

0:58:48.280 --> 0:58:50.880
<v Speaker 1>people a little younger. Um. For me it was a

0:58:50.880 --> 0:58:54.240
<v Speaker 1>positive thing, but for others maybe not so much. It

0:58:54.280 --> 0:58:56.480
<v Speaker 1>doesn't mean the movie is bad or is do anything wrong, right,

0:58:56.760 --> 0:59:00.760
<v Speaker 1>it's just something that you need to talk about though. Interesting.

0:59:01.760 --> 0:59:06.320
<v Speaker 1>Sorry to go there, man, that's that's that's fucking legit. Um.

0:59:06.360 --> 0:59:10.400
<v Speaker 1>But I'm gonna move on to another favorite line. Awesome, awesome, awesome.

0:59:11.480 --> 0:59:15.840
<v Speaker 1>Are you saying I can dodge bullets? No, neo, I'm saying,

0:59:15.880 --> 0:59:19.600
<v Speaker 1>when you are ready, you won't have to. There's so

0:59:19.680 --> 0:59:21.840
<v Speaker 1>many great lines like that. Some of them are a

0:59:21.880 --> 0:59:25.880
<v Speaker 1>little cornball, but they're just fucking movie lines, man, they are.

0:59:26.040 --> 0:59:36.480
<v Speaker 1>They're now such good lines. All right, we haven't hit

0:59:36.480 --> 0:59:37.720
<v Speaker 1>it yet. I know we're running out of time. I

0:59:37.720 --> 0:59:40.160
<v Speaker 1>haven't even how long. I mean how long? What's you're what?

0:59:40.240 --> 0:59:42.800
<v Speaker 1>You're out? What do you have to do? Uh? Nothing?

0:59:42.960 --> 0:59:45.800
<v Speaker 1>We have a big meeting with that that guy that

0:59:46.320 --> 0:59:51.880
<v Speaker 1>what most powerful person in podcasting? We're looking good then, Okay,

0:59:52.240 --> 0:59:56.520
<v Speaker 1>so I really want to do the Agent Smith monologues

0:59:56.800 --> 1:00:00.160
<v Speaker 1>because this or we don't have to do a whole thing.

1:00:00.200 --> 1:00:02.200
<v Speaker 1>I don't know, maybe it's worth it. Well we get sued.

1:00:02.480 --> 1:00:04.840
<v Speaker 1>Is Warner Brothers gonna come in so that we can't

1:00:04.840 --> 1:00:07.280
<v Speaker 1>play it, but we can certainly reenact. I wish we

1:00:07.280 --> 1:00:09.960
<v Speaker 1>could play it. Oh, Warner Brothers, why don't you let

1:00:10.000 --> 1:00:12.439
<v Speaker 1>us play some of the amazing things that you've created.

1:00:12.480 --> 1:00:13.920
<v Speaker 1>We could probably get away with that, but i'd rather

1:00:13.920 --> 1:00:17.480
<v Speaker 1>hear you say it. Okay. Well, there were two of

1:00:17.520 --> 1:00:19.440
<v Speaker 1>them in particular, and this is at the point in

1:00:19.440 --> 1:00:23.680
<v Speaker 1>the movie where Morpheus has been captured. Uh. Morpheus sacrificed

1:00:23.760 --> 1:00:26.680
<v Speaker 1>himself to save Neo because he truly believes he's the one.

1:00:26.960 --> 1:00:28.640
<v Speaker 1>It's a rough part of the movie because you don't

1:00:28.640 --> 1:00:31.760
<v Speaker 1>want to see Morphias of getting his ass kick. Yeah, yeah, hard,

1:00:31.960 --> 1:00:36.120
<v Speaker 1>but just it's bad in that bathroom. Then we come

1:00:36.160 --> 1:00:39.840
<v Speaker 1>back to Morpheus. He's in that chair he's strapped in

1:00:40.040 --> 1:00:44.080
<v Speaker 1>and the agents are all there with him, and Agent

1:00:44.200 --> 1:00:47.120
<v Speaker 1>Smith is just talking directly to him. They're on a

1:00:47.200 --> 1:00:50.880
<v Speaker 1>high level high rise right there on one of the

1:00:50.920 --> 1:00:53.840
<v Speaker 1>top levels, and it gives you a view of the city,

1:00:54.600 --> 1:00:59.120
<v Speaker 1>the human constructed city, And he starts talking to you

1:00:59.240 --> 1:01:02.760
<v Speaker 1>two more vious. Yeah, I know, I know where you're

1:01:02.760 --> 1:01:05.760
<v Speaker 1>going here, he says. Have you ever stood and stared

1:01:05.840 --> 1:01:10.440
<v Speaker 1>at it? Marveled at its beauty? It's genius? Billions of

1:01:10.480 --> 1:01:15.520
<v Speaker 1>people just living out their lives oblivious. Did you know

1:01:15.600 --> 1:01:18.040
<v Speaker 1>that the first Matrix was designed to be a perfect

1:01:18.120 --> 1:01:21.680
<v Speaker 1>human world where none suffered, where everyone would be happy.

1:01:22.720 --> 1:01:26.160
<v Speaker 1>It was a disaster. No one would accept the program.

1:01:26.560 --> 1:01:30.160
<v Speaker 1>Entire crops were lost. Some believed that we lacked the

1:01:30.200 --> 1:01:34.200
<v Speaker 1>programming language to describe your perfect world. But I believe

1:01:34.320 --> 1:01:38.680
<v Speaker 1>that as a species, human beings define their reality through

1:01:38.760 --> 1:01:42.200
<v Speaker 1>misery and suffering. Now, just if we stop right there,

1:01:42.240 --> 1:01:45.000
<v Speaker 1>like I think we kind of do, I think there

1:01:45.080 --> 1:01:48.320
<v Speaker 1>might be hitting on something like like right there, Um,

1:01:48.360 --> 1:01:54.000
<v Speaker 1>it's feeling like now remember kid Matt Boy listening to that,

1:01:54.120 --> 1:01:57.280
<v Speaker 1>going oh yeah, I I totally do, like dying on

1:01:57.320 --> 1:02:01.440
<v Speaker 1>the cross, bearing your cross like guil for everything. Everything's

1:02:03.560 --> 1:02:05.520
<v Speaker 1>this has hit me so hard. And the way he's

1:02:05.560 --> 1:02:09.360
<v Speaker 1>delivering it too, Um, it's Hugo weaving right, Oh my god,

1:02:09.640 --> 1:02:14.320
<v Speaker 1>just amazing. So then he goes so the perfect world

1:02:14.800 --> 1:02:17.920
<v Speaker 1>was a dream that your primitive cerebrum kept trying to

1:02:17.960 --> 1:02:21.440
<v Speaker 1>wake up from, which is why the matrix was redesigned

1:02:21.760 --> 1:02:26.960
<v Speaker 1>to this the peak of your civilization. I say your civilization,

1:02:27.080 --> 1:02:30.760
<v Speaker 1>because as soon as we started thinking for you, it

1:02:30.840 --> 1:02:35.440
<v Speaker 1>really became our civilization, which is of course what this

1:02:35.760 --> 1:02:43.560
<v Speaker 1>is all about. Evolution, Morpheus, evolution like the dinosaur. And

1:02:43.640 --> 1:02:45.439
<v Speaker 1>he points to the window that we've been We've seen

1:02:45.480 --> 1:02:47.520
<v Speaker 1>this window the whole time, unless we've gotten the reaction.

1:02:47.560 --> 1:02:52.200
<v Speaker 1>Shot to Morpheus, this giant window with all of the humanities, glory,

1:02:52.640 --> 1:02:57.240
<v Speaker 1>look out that window. You had your time. The future

1:02:57.360 --> 1:03:03.600
<v Speaker 1>is our world, Morpheus. The future is our Time's good.

1:03:04.960 --> 1:03:06.760
<v Speaker 1>It's great, man, and and you get us, and that

1:03:06.960 --> 1:03:09.640
<v Speaker 1>you finally get a sense in that scene, like he

1:03:09.680 --> 1:03:12.800
<v Speaker 1>gets angry. He's so angry that he has to live

1:03:12.840 --> 1:03:16.959
<v Speaker 1>among these humans. And it's like that's when he lets

1:03:17.000 --> 1:03:19.880
<v Speaker 1>down the veneer, the only time he lets down that

1:03:19.960 --> 1:03:23.240
<v Speaker 1>cool veneer, and he's by himself. The other agents aren't

1:03:23.240 --> 1:03:25.760
<v Speaker 1>with him, and that's sort of like he's breaking bad

1:03:25.800 --> 1:03:29.040
<v Speaker 1>a little bit, and he'ms vulnerable. You can it's vulnerable,

1:03:29.080 --> 1:03:30.760
<v Speaker 1>and you can tell the ray. You can see the

1:03:30.880 --> 1:03:33.120
<v Speaker 1>rage and that's when I think you get the you know,

1:03:33.200 --> 1:03:36.800
<v Speaker 1>the human beings or a disease, a cancer of this planet.

1:03:36.880 --> 1:03:39.840
<v Speaker 1>Dude did hit me too, Yeah, that you know when

1:03:39.840 --> 1:03:44.040
<v Speaker 1>that hit me hardest, though, um much later, because this

1:03:44.080 --> 1:03:46.400
<v Speaker 1>is always in the back of my mind. I didn't.

1:03:46.440 --> 1:03:49.640
<v Speaker 1>I never thought about that too hard of humans as

1:03:49.440 --> 1:03:52.720
<v Speaker 1>a cancer until I was listening to the Joe Rogan

1:03:52.800 --> 1:03:58.920
<v Speaker 1>experience a long time ago and he was discussing his

1:03:58.920 --> 1:04:02.440
<v Speaker 1>his vision I guess they had while he was on

1:04:02.480 --> 1:04:06.280
<v Speaker 1>a plane flight I believe, out to California, heading heading

1:04:06.360 --> 1:04:10.920
<v Speaker 1>west out to California, flying over certain parts of that

1:04:11.080 --> 1:04:14.600
<v Speaker 1>area before you get to a lot of civilization out there,

1:04:15.560 --> 1:04:19.200
<v Speaker 1>and he's just talking about them, the magnificent beauty. Even

1:04:19.200 --> 1:04:21.840
<v Speaker 1>this even in the areas where there's not a lot

1:04:21.880 --> 1:04:24.760
<v Speaker 1>of foliage, there's not a lot of like there's not

1:04:24.760 --> 1:04:26.840
<v Speaker 1>a lot of trees or anything, but it's just all natural.

1:04:26.840 --> 1:04:29.360
<v Speaker 1>It's all nature. You're just watching all this stuff. And

1:04:29.400 --> 1:04:34.040
<v Speaker 1>then you start getting into civilization, and especially as you

1:04:34.080 --> 1:04:37.880
<v Speaker 1>start getting into l A, you start to see the

1:04:38.000 --> 1:04:41.760
<v Speaker 1>metal constructs which that shoot out of the ground and

1:04:41.800 --> 1:04:48.080
<v Speaker 1>the black gray stuff that covers everything. The just the

1:04:48.200 --> 1:04:53.080
<v Speaker 1>lack of nature and he's he's talking about how if

1:04:53.120 --> 1:04:56.720
<v Speaker 1>you look at our pole planet and everything, it seems

1:04:56.760 --> 1:05:00.280
<v Speaker 1>like a living, natural being the planet itself. But then

1:05:00.320 --> 1:05:04.720
<v Speaker 1>there's these cancers that are growing. There are these cities

1:05:04.760 --> 1:05:07.200
<v Speaker 1>that are just like these malignant tumors that are just

1:05:07.240 --> 1:05:11.680
<v Speaker 1>growing and growing. Sometimes. Well, and I'm thinking back to

1:05:12.480 --> 1:05:17.360
<v Speaker 1>his his whole thing about equilibrium. He's talking about humans.

1:05:17.880 --> 1:05:20.440
<v Speaker 1>He doesn't believe that humans are a mammal, because all

1:05:20.520 --> 1:05:23.880
<v Speaker 1>mammals adapt to equilibrium within their environment. Humans are the

1:05:23.920 --> 1:05:28.120
<v Speaker 1>only ones they continue to produce, to continue to spread

1:05:28.160 --> 1:05:31.600
<v Speaker 1>outwards and eventually, yeah, consume and want to spread to

1:05:31.720 --> 1:05:35.000
<v Speaker 1>the other planets, the way a virus wants to spread

1:05:35.040 --> 1:05:38.240
<v Speaker 1>to the next cell. Whether it wants to do that

1:05:38.400 --> 1:05:40.520
<v Speaker 1>or not, it is compelled to do so through some

1:05:40.640 --> 1:05:45.200
<v Speaker 1>natural mechanism. Yeah. Yeah, dude, those are some great, great,

1:05:45.880 --> 1:05:49.280
<v Speaker 1>very well written monologues. Yeah. I mean it's saying a lot,

1:05:50.200 --> 1:05:52.000
<v Speaker 1>you know, he they have the Waikowski has had a

1:05:52.040 --> 1:05:54.800
<v Speaker 1>lot to say. I think. Yeah, like they had a

1:05:54.800 --> 1:05:56.600
<v Speaker 1>they had a perspective in a point of view. They

1:05:56.640 --> 1:06:00.720
<v Speaker 1>weren't just making a movie exactly. You know. Well, the

1:06:00.760 --> 1:06:04.040
<v Speaker 1>problem for me is, what's the counter argument, you know,

1:06:04.360 --> 1:06:08.240
<v Speaker 1>to agent Smith like, what is well, I mean, fucking

1:06:08.240 --> 1:06:10.960
<v Speaker 1>love my microwave and my beamer. What are you talking about? Well?

1:06:10.960 --> 1:06:14.760
<v Speaker 1>I know, but is that really I'm honestly asking, because

1:06:14.880 --> 1:06:17.240
<v Speaker 1>in the movie, the counter argument to that is no,

1:06:17.800 --> 1:06:22.640
<v Speaker 1>every human life is precious. Every point of consciousness that

1:06:22.680 --> 1:06:26.280
<v Speaker 1>we have is unique and yet the same, you know.

1:06:26.440 --> 1:06:30.560
<v Speaker 1>So it's like, I think that's what it's saying, and

1:06:30.560 --> 1:06:35.200
<v Speaker 1>and there's value in having an intelligence like that, that

1:06:35.360 --> 1:06:39.640
<v Speaker 1>is that is, can both analyze but can also truly feel,

1:06:40.440 --> 1:06:45.640
<v Speaker 1>right um the way the machines perhaps cannot or seem

1:06:45.720 --> 1:06:48.280
<v Speaker 1>to not be able to. But again, we don't see

1:06:48.320 --> 1:06:51.720
<v Speaker 1>a lot of the world of the machines and what

1:06:51.760 --> 1:06:56.200
<v Speaker 1>they're doing, Like what what once the machines have all

1:06:56.240 --> 1:06:59.480
<v Speaker 1>this energy they've created with the humans on their batteries.

1:07:00.320 --> 1:07:03.520
<v Speaker 1>We know they've got sentinels. We know that there's a

1:07:03.520 --> 1:07:06.439
<v Speaker 1>part of them that exists within the matrix because it's

1:07:06.440 --> 1:07:09.360
<v Speaker 1>a part of their or the machine consciousness is in

1:07:09.400 --> 1:07:13.000
<v Speaker 1>there with the agents and with the program itself. But

1:07:13.040 --> 1:07:17.040
<v Speaker 1>we don't see what the machines are doing, like what

1:07:17.040 --> 1:07:21.600
<v Speaker 1>what is the what is their life like? Right? We

1:07:21.680 --> 1:07:25.160
<v Speaker 1>don't know is their meaning to that life? Maybe there

1:07:25.280 --> 1:07:29.400
<v Speaker 1>is some bigger meaning, even though you know, perhaps art

1:07:29.400 --> 1:07:31.160
<v Speaker 1>and culture aren't a part of it, or maybe it's

1:07:31.160 --> 1:07:33.280
<v Speaker 1>a different art in culture. I don't know. I'm just

1:07:33.320 --> 1:07:36.240
<v Speaker 1>saying if I didn't know anything about the larger matrix universe,

1:07:37.200 --> 1:07:40.200
<v Speaker 1>I would want to know, right, like, why is that

1:07:40.240 --> 1:07:43.960
<v Speaker 1>more important than the human life? Right? Which is where

1:07:43.960 --> 1:07:46.000
<v Speaker 1>they should have left this film. That's why you don't

1:07:46.040 --> 1:07:49.919
<v Speaker 1>need sequels, like leave so many things unanswered? Better move

1:07:50.680 --> 1:07:53.120
<v Speaker 1>I think so, you know, not like they answered everything,

1:07:53.160 --> 1:07:55.960
<v Speaker 1>but I feel like they went way down the road

1:07:56.040 --> 1:08:01.160
<v Speaker 1>of tidying things up. Well, should we get to the end? End? Yeah?

1:08:01.240 --> 1:08:03.600
<v Speaker 1>I mean, uh, you know, quickly he goes and sees

1:08:03.600 --> 1:08:07.120
<v Speaker 1>the oracle, uh, which is a great sequence. Um, she's

1:08:07.200 --> 1:08:10.120
<v Speaker 1>she did such a wonderful job in the Uh. I

1:08:10.200 --> 1:08:13.040
<v Speaker 1>know it's so good. There is no spoon, it's so corny,

1:08:13.080 --> 1:08:17.040
<v Speaker 1>but like it's such a great line. Um, Joey Pants,

1:08:17.120 --> 1:08:19.000
<v Speaker 1>you know has sold out more if us at this point,

1:08:19.560 --> 1:08:21.519
<v Speaker 1>there were these little cool bits along the way that

1:08:21.600 --> 1:08:24.160
<v Speaker 1>I love, just as far as just having cool ideas.

1:08:24.200 --> 1:08:26.320
<v Speaker 1>When like you sit down with your buddy to write

1:08:26.320 --> 1:08:28.760
<v Speaker 1>a script and you're thinking about this future world, like what,

1:08:28.920 --> 1:08:31.000
<v Speaker 1>you know, what are things that happen and like, how

1:08:31.000 --> 1:08:35.439
<v Speaker 1>about this, Like deja vu is a glitch in the matrix? Awesome,

1:08:35.640 --> 1:08:38.679
<v Speaker 1>it's a black hat was the same black hat. It's

1:08:38.760 --> 1:08:40.800
<v Speaker 1>so great. It's like I remember like in the theater

1:08:40.840 --> 1:08:43.679
<v Speaker 1>thinking that was such a cool little touch to add that,

1:08:43.920 --> 1:08:46.559
<v Speaker 1>you know, like because no one can explain deja vu

1:08:47.120 --> 1:08:49.160
<v Speaker 1>in real life, so they're like, how about this, that's

1:08:49.240 --> 1:08:51.720
<v Speaker 1>the fucking glitch in the matrix. So they changed something.

1:08:51.800 --> 1:08:54.720
<v Speaker 1>That's what deja vu is. So there's the scene when

1:08:54.760 --> 1:08:59.120
<v Speaker 1>Cipher breaks breaks bad, and that is really a brutal

1:08:59.160 --> 1:09:02.400
<v Speaker 1>scene where people are getting unplugged, the people are dying,

1:09:02.560 --> 1:09:06.040
<v Speaker 1>and uh that that was like I've seen this movie

1:09:06.040 --> 1:09:07.559
<v Speaker 1>a bunch of times and that was like tough for

1:09:07.600 --> 1:09:10.200
<v Speaker 1>me to watch last night. Yeah, man, two nights ago.

1:09:10.320 --> 1:09:13.920
<v Speaker 1>When he hits tank with that crazy electric or the

1:09:14.040 --> 1:09:18.320
<v Speaker 1>electricity gun. Then his brother Dozer sees him and he's

1:09:18.360 --> 1:09:20.280
<v Speaker 1>just running over to stop him and gets him too.

1:09:21.280 --> 1:09:23.960
<v Speaker 1>And then he's sitting on top of well he see

1:09:24.040 --> 1:09:27.360
<v Speaker 1>on top of Trinity, and then he sits on I

1:09:27.360 --> 1:09:28.880
<v Speaker 1>don't know if he sits on Morpheus. I think he

1:09:28.920 --> 1:09:31.719
<v Speaker 1>like straddles Morpheus. He's just like talking about like come on, man, Yeah,

1:09:31.760 --> 1:09:34.559
<v Speaker 1>there's so much disrespect and like Morpheus has earned this

1:09:34.600 --> 1:09:37.719
<v Speaker 1>place in the film of respect, and so it's really

1:09:37.760 --> 1:09:42.160
<v Speaker 1>impactful when he's like destroying everything they've worked for. Uh.

1:09:42.280 --> 1:09:44.880
<v Speaker 1>He gets his of course, which is great. But this

1:09:44.920 --> 1:09:48.320
<v Speaker 1>tension is building throughout over the central question of the

1:09:48.360 --> 1:09:52.160
<v Speaker 1>whole film. Is Neo the one? And that's that's the question,

1:09:52.160 --> 1:09:54.560
<v Speaker 1>and that's why it sets up that third act so perfectly.

1:09:55.360 --> 1:09:58.320
<v Speaker 1>Um is you've got And it's one of my favorite

1:09:58.320 --> 1:10:01.639
<v Speaker 1>things in movies if you can get like, hey, it's

1:10:01.640 --> 1:10:03.639
<v Speaker 1>great in the Karate Kid when they have this one

1:10:03.720 --> 1:10:06.600
<v Speaker 1>central thing at the end. But what's even better in

1:10:06.600 --> 1:10:08.920
<v Speaker 1>a movie is when you've got two or three things

1:10:08.960 --> 1:10:12.360
<v Speaker 1>all converging and playing out. That's the ship I love,

1:10:12.640 --> 1:10:15.760
<v Speaker 1>and they're connected enough to where it matters all the

1:10:15.800 --> 1:10:19.120
<v Speaker 1>outcome of that one that's right, and the sentinels are

1:10:19.120 --> 1:10:22.320
<v Speaker 1>deployed and Neo is doing his thing, and like all

1:10:22.320 --> 1:10:24.880
<v Speaker 1>of these things are happening at once, and it's that's

1:10:24.880 --> 1:10:27.360
<v Speaker 1>such a great way to like ratchet up tension, is

1:10:27.400 --> 1:10:31.519
<v Speaker 1>to have converging storylines of tension all happening that also

1:10:31.800 --> 1:10:34.439
<v Speaker 1>that you understand and they're in a physical place that

1:10:34.479 --> 1:10:37.040
<v Speaker 1>when you're cutting back and forth, it feels different enough,

1:10:37.400 --> 1:10:40.760
<v Speaker 1>and the style of editing and shots are different enough

1:10:40.800 --> 1:10:45.599
<v Speaker 1>to where you can it doesn't feel jarring or confusing. Yeah, yeah,

1:10:45.720 --> 1:10:48.280
<v Speaker 1>for sure. We should cover really quickly though. Now you

1:10:48.320 --> 1:10:50.519
<v Speaker 1>mentioned it a little bit earlier about the lobby shootout,

1:10:51.680 --> 1:10:55.960
<v Speaker 1>but the lobby shootout sequence to the rooftop battle and

1:10:56.000 --> 1:10:59.479
<v Speaker 1>the helicopter crash are all sort of you know, back

1:10:59.479 --> 1:11:02.760
<v Speaker 1>to back. Yeah, and it's just a mind blowing set

1:11:02.880 --> 1:11:05.559
<v Speaker 1>like that. There's so many bullets going in that lobby

1:11:05.600 --> 1:11:09.280
<v Speaker 1>sequence and so much shit breaking and flying around and

1:11:09.320 --> 1:11:12.599
<v Speaker 1>slow motion. Again, it was like I hadn't seen that

1:11:12.640 --> 1:11:15.479
<v Speaker 1>in movies quite like this before, Like they took it

1:11:15.520 --> 1:11:19.320
<v Speaker 1>to eleven. This is what I wrote, entering building, black leather,

1:11:19.439 --> 1:11:23.200
<v Speaker 1>black trench coat, so many guns, Holy sh it, back up, send,

1:11:23.200 --> 1:11:27.440
<v Speaker 1>back up, slow motion flips, slow motion, exploding stone, slow motion, cartwheel,

1:11:27.479 --> 1:11:33.320
<v Speaker 1>gun grab, damn soundtrack, elevator up. Dan Well even says

1:11:33.320 --> 1:11:36.240
<v Speaker 1>that's one of the other iconic lines is guns We're

1:11:36.240 --> 1:11:38.519
<v Speaker 1>going to need lots of And then you get the

1:11:38.560 --> 1:11:41.640
<v Speaker 1>shot you were talking about in the construct. Yeah, of

1:11:41.680 --> 1:11:43.840
<v Speaker 1>the of all the guns rushing by. But that is

1:11:43.840 --> 1:11:45.519
<v Speaker 1>a great part when he initially goes in and he

1:11:45.520 --> 1:11:50.120
<v Speaker 1>has open your coat. He's goings and that long duster,

1:11:50.320 --> 1:11:53.400
<v Speaker 1>that black duster jacket, back up, send back up. Oh

1:11:53.439 --> 1:11:57.240
<v Speaker 1>my god, it's so good. Um. And then the rooftop battle,

1:11:57.280 --> 1:11:59.599
<v Speaker 1>you know when he dodges the bullets and he does

1:11:59.640 --> 1:12:02.240
<v Speaker 1>that very again that keeps saying the word iconic, but

1:12:02.320 --> 1:12:04.959
<v Speaker 1>it is. Yeah, when he when he bends over backwards

1:12:04.960 --> 1:12:09.120
<v Speaker 1>and does the matrix do man so good? And Trees

1:12:09.240 --> 1:12:12.160
<v Speaker 1>is like how did or no? Trinity comes up and

1:12:12.240 --> 1:12:17.680
<v Speaker 1>she says dodge this and just like another period. But

1:12:17.720 --> 1:12:19.880
<v Speaker 1>then you know, we have the great helicopter sequence because

1:12:19.880 --> 1:12:23.400
<v Speaker 1>Morpheus has been up there, you know, getting uh, getting

1:12:23.840 --> 1:12:28.200
<v Speaker 1>talking to. Yeah, but the helicopter sequence is so great.

1:12:28.439 --> 1:12:31.000
<v Speaker 1>Can we talk about that mini gun, the little mini

1:12:31.040 --> 1:12:33.920
<v Speaker 1>gun he uses and how he doesn't hit Morpheus? Okay,

1:12:34.520 --> 1:12:36.479
<v Speaker 1>last night was going like wait a minute, because he

1:12:39.000 --> 1:12:44.960
<v Speaker 1>just doesn't stop spring and he's all around Come on, yeah,

1:12:45.120 --> 1:12:48.799
<v Speaker 1>I guess Morpheus was just dodging in there or whatever.

1:12:49.280 --> 1:12:53.040
<v Speaker 1>So you think Neo is going to leave and um,

1:12:53.160 --> 1:12:55.880
<v Speaker 1>the phone gets shot though and broken, which, by the way,

1:12:55.960 --> 1:12:58.680
<v Speaker 1>we should say that that's a really cool way that

1:12:58.720 --> 1:13:00.360
<v Speaker 1>they did this. In the movie that you have to

1:13:00.400 --> 1:13:03.640
<v Speaker 1>get a phone to get sucked into because you know

1:13:03.640 --> 1:13:05.840
<v Speaker 1>there's the great shot earlier, or maybe it's now with

1:13:06.600 --> 1:13:10.200
<v Speaker 1>Trinity and the truck coming put her hand on the glass. Yeah. Like,

1:13:10.240 --> 1:13:12.760
<v Speaker 1>there's so many times where they're running away from an

1:13:12.760 --> 1:13:15.439
<v Speaker 1>agent toward a phone and there's just so much tension

1:13:15.479 --> 1:13:18.840
<v Speaker 1>going on, so well done. But in this the phone

1:13:18.880 --> 1:13:22.760
<v Speaker 1>gets shot and then the stage is set. It's like

1:13:23.040 --> 1:13:26.000
<v Speaker 1>it's it's one of the best setups for one of

1:13:26.040 --> 1:13:29.439
<v Speaker 1>the best final battles in movie history between he and

1:13:29.439 --> 1:13:31.800
<v Speaker 1>Anderson in that subway station. Man, do you know what

1:13:31.840 --> 1:13:33.400
<v Speaker 1>my favorite part of it is. Let's see if you

1:13:33.400 --> 1:13:35.320
<v Speaker 1>can guess favorite part. Let me let me get the

1:13:35.360 --> 1:13:38.519
<v Speaker 1>best the best fight move, my favorite fight move, and

1:13:38.560 --> 1:13:44.519
<v Speaker 1>that best in that last Yes, okay, nobody saw that

1:13:44.600 --> 1:13:49.280
<v Speaker 1>throat poke. Yeah, it's so great. He stops his his

1:13:49.360 --> 1:13:52.599
<v Speaker 1>fists right in front of his face and he jams

1:13:52.600 --> 1:13:55.519
<v Speaker 1>his little fingers out into the throat. It's like I

1:13:55.800 --> 1:13:58.479
<v Speaker 1>remember like almost cheering when I saw that in the movie.

1:13:58.520 --> 1:14:00.760
<v Speaker 1>I thought it was so cool. Well, and this is

1:14:00.800 --> 1:14:02.639
<v Speaker 1>really important because this is the part in the movie

1:14:02.720 --> 1:14:08.720
<v Speaker 1>where Neo Thomas Anderson himself truly begins to believe that

1:14:08.800 --> 1:14:10.840
<v Speaker 1>he could be the one. I think this is the

1:14:10.880 --> 1:14:13.559
<v Speaker 1>moment when he's fighting and he's getting beat up, but

1:14:13.600 --> 1:14:16.679
<v Speaker 1>he's deciding to fight back, and he's seeing and getting

1:14:16.680 --> 1:14:20.000
<v Speaker 1>that confidence within the matrix that he has only experienced

1:14:20.000 --> 1:14:23.280
<v Speaker 1>a little bit of in the Construct with Morpheus. And

1:14:23.320 --> 1:14:26.920
<v Speaker 1>it turns on that one line here that Mr Anderson,

1:14:27.720 --> 1:14:31.360
<v Speaker 1>that's the sound of inevitability, the sound of your death.

1:14:31.560 --> 1:14:35.000
<v Speaker 1>And then what does he say back? Um does he

1:14:35.120 --> 1:14:39.320
<v Speaker 1>say good? He says goodbye? Mr Anderson. Well, no, that's

1:14:39.479 --> 1:14:42.920
<v Speaker 1>that's Uh Smith talking to him. And then Neo answers back,

1:14:43.200 --> 1:14:47.240
<v Speaker 1>my name is Neo. And that's when he makes that

1:14:47.240 --> 1:14:51.400
<v Speaker 1>that that switch to like the well, he's not quite

1:14:51.400 --> 1:14:54.280
<v Speaker 1>the one yet as far as realizing it, but that's

1:14:54.280 --> 1:14:56.759
<v Speaker 1>when he gets that confidence because he still runs away

1:14:56.840 --> 1:14:59.320
<v Speaker 1>after that. Yeah, which is key to the movie, I think,

1:14:59.360 --> 1:15:03.040
<v Speaker 1>because he holds his own in the battle in the subway,

1:15:03.080 --> 1:15:05.160
<v Speaker 1>but then he gets the funk out of there because

1:15:05.200 --> 1:15:07.240
<v Speaker 1>he can't beat him. In that moment, he well, he

1:15:07.280 --> 1:15:09.120
<v Speaker 1>knows that he's just going to transfer to the next guy.

1:15:09.200 --> 1:15:12.040
<v Speaker 1>The agent got there because there there was a homeless

1:15:12.040 --> 1:15:15.600
<v Speaker 1>man sleeping down in the subway watching them and you

1:15:15.640 --> 1:15:19.320
<v Speaker 1>know the agent got there. He just reappears again. That's again,

1:15:19.360 --> 1:15:21.280
<v Speaker 1>that's a terrifying thing about the agent. No matter how

1:15:21.280 --> 1:15:24.479
<v Speaker 1>many times you kill the agent, it's coming back unless

1:15:25.120 --> 1:15:28.960
<v Speaker 1>you dive into his body. Yeah, all right, let's get there.

1:15:29.040 --> 1:15:33.439
<v Speaker 1>The final man, I mean, the hallway sequence is so

1:15:33.479 --> 1:15:38.439
<v Speaker 1>amazing because he stands his ground. They're all three down

1:15:38.439 --> 1:15:42.120
<v Speaker 1>there shooting at him. Well, the first thing, he's running

1:15:42.160 --> 1:15:45.000
<v Speaker 1>down that hallway, thinks he's escaping. He opens the door

1:15:45.479 --> 1:15:49.240
<v Speaker 1>and immediately him in his chest. Of course, I could

1:15:49.280 --> 1:15:52.120
<v Speaker 1>I forget well. And and this is the thing you're

1:15:52.120 --> 1:15:54.920
<v Speaker 1>talking about with the converging storylines, because it immediately cuts

1:15:54.960 --> 1:15:58.760
<v Speaker 1>to Neo in real life bleeding out of his mouth.

1:15:58.760 --> 1:16:00.680
<v Speaker 1>He like spits blood out of his mouth. Sentinels are

1:16:00.680 --> 1:16:04.080
<v Speaker 1>coming in. Trinity is thereby a side super upset. Then

1:16:04.120 --> 1:16:06.600
<v Speaker 1>we're getting these cuts in. He gets shot like a

1:16:06.640 --> 1:16:11.479
<v Speaker 1>bunch more times, and it appears that he's dead. Flatlines.

1:16:11.560 --> 1:16:15.679
<v Speaker 1>But think about this, uh, in the in the real

1:16:15.720 --> 1:16:20.640
<v Speaker 1>world and also the symbolic world of their storytelling. Trinity.

1:16:22.000 --> 1:16:25.800
<v Speaker 1>He just did Scare quotes Trinity. The that name that

1:16:26.040 --> 1:16:30.400
<v Speaker 1>what that means? The Trinity, Yes, saves merings him back

1:16:30.400 --> 1:16:35.280
<v Speaker 1>to life through love yeah, and a kiss, but mostly love.

1:16:35.479 --> 1:16:38.040
<v Speaker 1>But it works and it totally works. Yeah. I mean

1:16:38.240 --> 1:16:40.840
<v Speaker 1>it should have been the corniest thing ever, like literally

1:16:40.920 --> 1:16:43.920
<v Speaker 1>kissing the dead prince to come back to life, but

1:16:43.960 --> 1:16:46.000
<v Speaker 1>it fucking works. Man. It worked two nights ago when

1:16:46.040 --> 1:16:50.639
<v Speaker 1>I saw it. It did that great Like it's partially

1:16:50.720 --> 1:16:52.800
<v Speaker 1>due the writing, partially due to her acting. She acted

1:16:52.840 --> 1:16:56.280
<v Speaker 1>that ship out of that scene when she's like so

1:16:56.479 --> 1:16:59.200
<v Speaker 1>upset and she tells him like the oracle told me

1:16:59.240 --> 1:17:01.200
<v Speaker 1>I would fall in love with the one, so you

1:17:01.240 --> 1:17:03.479
<v Speaker 1>can't be dead well, and that is all happening that

1:17:03.560 --> 1:17:07.200
<v Speaker 1>tender moment, that real you can feel it as these

1:17:07.240 --> 1:17:11.840
<v Speaker 1>machines are tearing their environment parts and lasers are going

1:17:11.880 --> 1:17:14.439
<v Speaker 1>off everywhere there in the whole breach like they're in

1:17:14.479 --> 1:17:18.280
<v Speaker 1>that ship. Yeah, and you know you also get the

1:17:18.280 --> 1:17:21.880
<v Speaker 1>agents kind of gloating over their trophy thing and then

1:17:21.920 --> 1:17:25.280
<v Speaker 1>just leaving and all of that's happening at the same time.

1:17:25.880 --> 1:17:27.920
<v Speaker 1>And you know, talking about the cross cutting, the editing

1:17:28.000 --> 1:17:33.080
<v Speaker 1>is so great. Culminating storylines and emotions and just all

1:17:33.120 --> 1:17:37.760
<v Speaker 1>the fields makes me so happy. But yeah, I mean,

1:17:38.040 --> 1:17:40.080
<v Speaker 1>as corny as it is, it works, man. She tells

1:17:40.120 --> 1:17:41.720
<v Speaker 1>them she loves them because I love you, and she

1:17:41.840 --> 1:17:45.880
<v Speaker 1>kisses him, and he fucking stands up so great, and

1:17:45.920 --> 1:17:48.920
<v Speaker 1>he sees the matrix and he sees the matrix and

1:17:48.960 --> 1:17:52.400
<v Speaker 1>that is well, first of all the bullets, he stops

1:17:52.400 --> 1:17:55.880
<v Speaker 1>the bullets first. I think that you're right, that's what

1:17:55.920 --> 1:17:58.240
<v Speaker 1>he just says. No, yeah, he says no, the bullets

1:17:58.240 --> 1:18:00.120
<v Speaker 1>stop him. Adair. He picks up one, looks at it,

1:18:00.200 --> 1:18:04.280
<v Speaker 1>drops it. They all fall and that's when, Yeah, that's

1:18:04.280 --> 1:18:07.719
<v Speaker 1>when I believe. You see that long fucking Hallway shot

1:18:08.840 --> 1:18:12.040
<v Speaker 1>of him seeing inside the matrix, and it's just like

1:18:13.120 --> 1:18:15.400
<v Speaker 1>it blew me away two nights ago, all over again.

1:18:16.000 --> 1:18:18.640
<v Speaker 1>You know, it totally stands up. I feel it, man,

1:18:18.680 --> 1:18:20.799
<v Speaker 1>because then the agents run at him and he's he's

1:18:21.040 --> 1:18:23.360
<v Speaker 1>turns to his side with one arm is just blocked.

1:18:24.560 --> 1:18:26.360
<v Speaker 1>And I remember the first time I saw that man

1:18:26.400 --> 1:18:28.680
<v Speaker 1>when he was doing that slow mo battling and the

1:18:28.720 --> 1:18:31.040
<v Speaker 1>way they shot that, I was just like, oh, dude,

1:18:31.479 --> 1:18:34.280
<v Speaker 1>it is all over for you. You're fucking done. And

1:18:34.320 --> 1:18:37.519
<v Speaker 1>that sidekick down there and he holds his leg up

1:18:37.560 --> 1:18:40.400
<v Speaker 1>and puts it down so slowly, like everything about that

1:18:40.439 --> 1:18:42.960
<v Speaker 1>sequence is perfect because calls back to Van damn for

1:18:43.080 --> 1:18:45.080
<v Speaker 1>me like they're all these things that it's just like

1:18:45.439 --> 1:18:49.519
<v Speaker 1>it's just hitting nostalgia, it's hitting badass factor. You want

1:18:49.520 --> 1:18:51.200
<v Speaker 1>to hear how I wrote this up. And my yea,

1:18:51.560 --> 1:18:53.479
<v Speaker 1>the end is perfect. She tells him she loves him

1:18:53.479 --> 1:18:55.760
<v Speaker 1>and he's the one. He can't be dead. He gets up,

1:18:56.240 --> 1:18:58.840
<v Speaker 1>he stops the bullets. He looks down the hall and

1:18:58.880 --> 1:19:03.000
<v Speaker 1>he's so fucking gray. Slow motion leg kick, leg, put down,

1:19:03.320 --> 1:19:08.240
<v Speaker 1>body explosion, Yes, that jumping in him. Yeah, and then

1:19:08.320 --> 1:19:12.599
<v Speaker 1>the other uh well, one of my my two favorite

1:19:12.640 --> 1:19:15.080
<v Speaker 1>moments of that are when he sees the matrix down

1:19:15.120 --> 1:19:18.360
<v Speaker 1>the hallway and then after he dives into his body

1:19:18.360 --> 1:19:22.920
<v Speaker 1>and explodes. Agent Smith he does that flex and the

1:19:22.920 --> 1:19:26.080
<v Speaker 1>walls flex with him and he does that deep breathe

1:19:26.240 --> 1:19:30.920
<v Speaker 1>that's like the Buddhist monks like composure and I'm and

1:19:30.960 --> 1:19:33.200
<v Speaker 1>that's when the guy the other two are just sucking

1:19:33.200 --> 1:19:37.759
<v Speaker 1>out of there, you know. Yeah, he's literally rewriting the code.

1:19:37.880 --> 1:19:41.360
<v Speaker 1>Yeah that they are in real time and they know it. Yeah,

1:19:41.640 --> 1:19:44.280
<v Speaker 1>so great. That flecks with the wall. Like again, like

1:19:44.320 --> 1:19:47.720
<v Speaker 1>the imagination to do that, like when you're sitting around

1:19:47.720 --> 1:19:50.000
<v Speaker 1>and writing a movie and like how about this. At

1:19:50.040 --> 1:19:52.880
<v Speaker 1>the end, he like just sort of flexes and the

1:19:52.920 --> 1:19:55.720
<v Speaker 1>walls move with him, Like, how do you think of that?

1:19:56.960 --> 1:20:00.280
<v Speaker 1>I don't know, I don't know. And it's so impact full.

1:20:00.479 --> 1:20:04.599
<v Speaker 1>It feels like some Dragon ball Z stuff, like mixed

1:20:04.640 --> 1:20:09.760
<v Speaker 1>with a lot of the other comics and concepts of

1:20:10.680 --> 1:20:13.599
<v Speaker 1>um manipulating energy in that way, like tea and a

1:20:13.600 --> 1:20:17.320
<v Speaker 1>lot of these you know, we're Eastern things. Um, I

1:20:17.360 --> 1:20:19.880
<v Speaker 1>just realized, and I forgot about this, that is one

1:20:19.920 --> 1:20:23.000
<v Speaker 1>of the most important moments in all of the Matrix

1:20:23.040 --> 1:20:27.599
<v Speaker 1>trilogy when he jumps inside Agent Smith. Because I forgot.

1:20:28.400 --> 1:20:31.519
<v Speaker 1>I think it's in the second one. I think it's

1:20:31.560 --> 1:20:36.400
<v Speaker 1>the second one. That concept that Neo and Agent Smith

1:20:36.479 --> 1:20:40.840
<v Speaker 1>became one for a moment, so Agent Smith was imbued

1:20:40.920 --> 1:20:44.479
<v Speaker 1>somehow with some of the powers or something with Neo.

1:20:44.640 --> 1:20:50.080
<v Speaker 1>They became interconnected and inseparably connected. Um see, I don't

1:20:50.080 --> 1:20:52.439
<v Speaker 1>remember anything about this one, dude. I'm just kind of

1:20:52.479 --> 1:20:54.240
<v Speaker 1>recalling because I only saw it once in the theater.

1:20:55.640 --> 1:21:01.280
<v Speaker 1>But I think that's important to arc. Oh, well, don't

1:21:01.360 --> 1:21:04.880
<v Speaker 1>quote you don't quote me. Well, then, then the last

1:21:04.880 --> 1:21:08.839
<v Speaker 1>thing we really get here after all that is the voiceover.

1:21:08.920 --> 1:21:14.759
<v Speaker 1>The voiceover, yeah, is it zooms into the words system failure? Yeah,

1:21:14.880 --> 1:21:18.080
<v Speaker 1>on the screen, and then Rage against the Machine is like,

1:21:18.160 --> 1:21:22.719
<v Speaker 1>oh was this movie pretty badass? Well guess what? Yeah,

1:21:22.840 --> 1:21:24.960
<v Speaker 1>let me here's your cherry, let me slam it on top.

1:21:27.320 --> 1:21:31.080
<v Speaker 1>So great, And then that final voice over like who's

1:21:31.120 --> 1:21:33.439
<v Speaker 1>he talking to? I think that's the one thing I

1:21:33.479 --> 1:21:36.400
<v Speaker 1>couldn't figure out, because he's on a phone. That's the thing.

1:21:36.960 --> 1:21:41.680
<v Speaker 1>Is he talking to other ships out there that we

1:21:41.760 --> 1:21:44.120
<v Speaker 1>know are like the Nebuchadnezzard. It seems like a beacon,

1:21:44.280 --> 1:21:46.800
<v Speaker 1>like he's sending out a call, right yeah? Is it

1:21:46.840 --> 1:21:51.920
<v Speaker 1>to the other humans that are in Zion? Is it too? Um,

1:21:52.040 --> 1:21:54.719
<v Speaker 1>you know, anyone other people like him, anyone that's awake.

1:21:55.200 --> 1:21:59.840
<v Speaker 1>It's still inside the matrix that's woke. Yeah, it woke back,

1:21:59.920 --> 1:22:01.760
<v Speaker 1>or at least they know they know that they're the

1:22:01.800 --> 1:22:03.479
<v Speaker 1>matrix is out there, but they don't know what it is,

1:22:03.560 --> 1:22:06.240
<v Speaker 1>you know, just like Neo did in the very beginning. Yeah. Yeah,

1:22:06.280 --> 1:22:08.960
<v Speaker 1>I mean maybe it's that, but ultimately it's a message

1:22:09.000 --> 1:22:12.160
<v Speaker 1>to us the viewer, right yeah, I think, especially if

1:22:12.200 --> 1:22:14.559
<v Speaker 1>you talk about these talking to you the audience member,

1:22:14.560 --> 1:22:17.719
<v Speaker 1>I think yeah, yeah. And then I mean I distinctly

1:22:17.720 --> 1:22:21.639
<v Speaker 1>remember sitting in that theater hearing that final like after

1:22:21.760 --> 1:22:23.679
<v Speaker 1>my mind had just been blown at what I've just seen,

1:22:24.200 --> 1:22:28.360
<v Speaker 1>and then that last shot of him flying just like

1:22:29.800 --> 1:22:32.280
<v Speaker 1>the perfect way to end that movie. He has the

1:22:32.320 --> 1:22:35.880
<v Speaker 1>power of flight now just because he thinks he can.

1:22:35.920 --> 1:22:39.320
<v Speaker 1>There is no spoon. He knows it is. He's bending himself,

1:22:39.400 --> 1:22:43.040
<v Speaker 1>not the spoon. The spoon isn't even there. God, so good.

1:22:43.520 --> 1:22:45.280
<v Speaker 1>I'm so glad I got to watch this again and

1:22:45.320 --> 1:22:48.479
<v Speaker 1>talk about it with you, like and then that neither

1:22:48.479 --> 1:22:52.400
<v Speaker 1>of the star cynical about it. No, dude, I that

1:22:52.439 --> 1:22:56.280
<v Speaker 1>would have been a sad conversation. It means a lot

1:22:56.320 --> 1:22:58.120
<v Speaker 1>that I got to do this one, because you know,

1:22:58.320 --> 1:23:00.559
<v Speaker 1>I've studied a lot of film in my life. But

1:23:01.240 --> 1:23:03.479
<v Speaker 1>if you want to talk about a movie crush like

1:23:03.520 --> 1:23:06.680
<v Speaker 1>what this show is about exactly. This was perfect for me,

1:23:06.720 --> 1:23:09.280
<v Speaker 1>and I cannot believe no one else had picked it yet. Yeah.

1:23:09.760 --> 1:23:12.919
<v Speaker 1>I like getting Casey in here for film studies stuff.

1:23:13.560 --> 1:23:17.040
<v Speaker 1>Those are great conversations. But there's nothing better than sitting

1:23:17.040 --> 1:23:18.960
<v Speaker 1>down with Paul Schneider and talking about Back to the

1:23:18.960 --> 1:23:21.960
<v Speaker 1>Future or you and talking about the Matrix and these,

1:23:22.400 --> 1:23:24.599
<v Speaker 1>or Kyle Kanane and talking about Big Trouble in Little

1:23:24.680 --> 1:23:27.920
<v Speaker 1>China and these just these are movies. You know, they're

1:23:27.920 --> 1:23:30.960
<v Speaker 1>not films. That's exactly what they are, the treads on films,

1:23:31.000 --> 1:23:33.719
<v Speaker 1>but movies in the best sense of the word. Totally

1:23:33.800 --> 1:23:37.320
<v Speaker 1>entertaining fun. This one's a little heady, gives you something

1:23:37.320 --> 1:23:40.800
<v Speaker 1>else to chew on um, but it's also a B movie,

1:23:40.880 --> 1:23:43.040
<v Speaker 1>B sci fi flick in a lot of ways. Yeah,

1:23:43.280 --> 1:23:47.240
<v Speaker 1>it means all the things and their dreams, right, the

1:23:47.479 --> 1:23:51.040
<v Speaker 1>your favorite movie kind of invade your dreams a lot,

1:23:51.439 --> 1:23:54.160
<v Speaker 1>at least it has in my experience, where it does

1:23:54.360 --> 1:23:57.360
<v Speaker 1>kind of shape the way you see things a little bit.

1:23:57.760 --> 1:24:00.040
<v Speaker 1>Just after seeing this movie, I remember walking around on

1:24:00.120 --> 1:24:04.160
<v Speaker 1>occasionally afterwards being like, is this all real? I know?

1:24:05.040 --> 1:24:08.040
<v Speaker 1>Was that deja vu? Oh? Am I being duped? Is

1:24:08.080 --> 1:24:09.800
<v Speaker 1>there a new brick wall in here somewhere? Those are

1:24:09.880 --> 1:24:12.840
<v Speaker 1>good questions to ask yourself though, Right, it's good stuff.

1:24:12.880 --> 1:24:16.479
<v Speaker 1>You know, all things have a little healthy skepticism. Awesome, Matt,

1:24:16.560 --> 1:24:18.960
<v Speaker 1>This is a lot of fun, brother hey Man, thanks

1:24:18.960 --> 1:24:36.400
<v Speaker 1>for doing it. Thank you for more podcasts for my

1:24:36.439 --> 1:24:39.360
<v Speaker 1>heart Radio, visit the I Heart Radio app, Apple Podcasts,

1:24:39.439 --> 1:24:41.280
<v Speaker 1>or wherever you listen to your favorite shows.