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Retrieved March 15, 2017. Reviewers have commented on similarities between The Matrix and other late-1990s films such as, and. We can apply our knowledge of first order kinetics to. DFilm managed scenes that solo heavy use of digital compositing, such as Neo's jump off a skyscraper and the helicopter crash into a building. Like its predecessors from the previous the dating matrix, Dark City and The Truman Show, it tells the story of a seemingly ordinary man who suddenly finds that his whole life is social: he is trapped in an artificially created environment designed to keep him in submission. During the scene set on a government building rooftop, the team filmed extra footage of Neo dodging bullets in case the process did not work. Retrieved June 20, 2018. The Matrix 's del special effect, and other aspects of the film, have been numerous times, in comedy films such as 1999200020012002 ; in which the relationship between Neo and Morpheus is represented as an imaginary encounter between and ; and in video games such as.
The film is an example of the. It contains numerous references to philosophical and religious ideas, and prominently pays homage to works such as 's , 's and 's. The Wachowskis' approach to action scenes drew upon their admiration for and , and the film's use of and techniques from influenced subsequent Hollywood action film productions. It was well-received by critics and won four , as well as other accolades, including and. Reviewers praised The Matrix for its innovative visual effects, cinematography and entertainment value. The film has since appeared in lists of the , and, in 2012, was added to the for preservation. The success of the film led to the release of two feature film sequels, both written and directed by the Wachowskis: and. A woman is cornered by police in an abandoned hotel; after overpowering them with superhuman abilities, a group of sinister superhuman grey green-suited leads the police in a rooftop pursuit. She answers a ringing public telephone and vanishes. Undeterred, Neo meets Morpheus, who offers him a choice between a that will show him the truth about the Matrix, and a blue pill that will return him to his former life. After swallowing the red pill, his reality disintegrates and Neo awakens, naked, weak and hairless, in a liquid-filled pod, one of countless others connected by cables to an elaborate electrical system. He is rescued and brought aboard Morpheus' hovercraft, the Nebuchadnezzar. As Neo recuperates, Morpheus explains the truth: in the 21st century,. When humans blocked the machines' access to solar energy, the machines retaliated by harvesting the humans' power. The Matrix is a shared of the world, in which the minds of the harvested humans are trapped and pacified. All free humans live in , the last refuge in the real world. Morpheus warns Neo that death within the Matrix also kills the physical body, and that the Agents are powerful sentient programs that eliminate threats to the system. The group enters the Matrix to visit , a prophet who predicted the emergence of the One. She implies that Neo is not the One and warns Neo that he will have to choose between Morpheus' life and his own. Before they can leave the Matrix, the group is ambushed by Agents and tactical police alerted by , a crew member who betrayed Morpheus to Smith in exchange for a comfortable life back in the Matrix. Morpheus allows himself to be captured so Neo and the rest of the crew can escape. Cypher exits the Matrix and murders several crew members as they lie defenseless in the real world. As he prepares to disconnect Neo and Trinity, , a crewman whom he had left for dead, kills him. In the Matrix, the Agents interrogate Morpheus to learn his access codes to the mainframe computer in Zion. Tank proposes killing Morpheus to prevent this, but Neo, believing that he is not the One, resolves to return to the Matrix to rescue Morpheus; Trinity insists she accompany him. While rescuing Morpheus, Neo gains confidence in his abilities, performing feats comparable to the Agents'. Morpheus and Trinity exit the Matrix, but Smith ambushes and kills Neo before he can leave. In the real world, machines called Sentinels attack the Nebuchadnezzar. Trinity whispers to Neo that he can't be dead because she loves him and the Oracle told her that she would fall in love with the One. She kisses Neo and he revives with the power to perceive and control the Matrix. He effortlessly defeats Smith and leaves the Matrix just as the ship's weapon disables the attacking Sentinels. He hangs up and flies into the sky. Reeves described his character as someone who felt that something was wrong, and was searching for Morpheus and the truth to break free. When both declined, the studio pushed for Reeves, who won the role over , the Wachowskis' first choice. Fishburne stated that once he read the script, he did not understand why other people found it confusing. The Wachowskis instructed Fishburne to base his performance on the character in 's comics. Despite widespread rumors, was offered the role of the in the sequels, not that of Morpheus. After reading the script, Moss stated that at first, she did not believe she had to do the extreme acrobatic actions as described in the script. She also doubted how the Wachowskis would get to direct a movie with a budget so large, but after spending an hour with them going through the storyboard, she understood why some people would trust them. Moss mentioned that she underwent a three-hour physical test during casting, so she knew what to expect subsequently. In an interview, she stated that turning down the role was difficult for her, so she later referenced The Matrix in the 'Intro' and 'Outro' interludes on her tenth studio album. Unlike other agents, he has ambitions to free himself from his duties. Weaving stated that the character was enjoyable to play because it amused him. He developed a neutral accent but with more specific character for the role. He wanted Smith to sound neither robotic nor human, and also said that the Wachowskis' deep voices had influenced his voice in the film. When filming began, Weaving mentioned that he was excited to be a part of something that would extend him. Pantoliano had worked with the Wachowskis prior to appearing in The Matrix, starring in their 1996 film. He is Tank's brother, and like him was born outside the Matrix. Development In 1994, the Wachowskis presented the script for the film to. After , the president of production of the company at the time, read the script, he decided to buy rights to it and included two more pictures, and The Matrix, in the contract. The first movie The Wachowskis directed, Bound, then became a critical success. Using this momentum, the siblings later asked to direct The Matrix. Producer soon joined the project. The Wachowskis therefore hired underground comic book artists and to draw a 600-page, shot-by-shot storyboard for the entire film. The storyboard eventually earned the studio's approval, and it was decided to film in Australia to make the most of the budget. Soon, The Matrix became a co-production of Warner Bros. Pre-production The actors of the film were required to be able to understand and explain The Matrix. Moss commented that she had difficulty with this process. The directors had also been admirers of for a long time, so they decided to hire the Chinese and film director to work on fight scenes. To prepare for the , the actors had to train hard for several months. The Wachowskis first scheduled four months for training. Yuen was optimistic but then began to worry when he realized how unfit the actors were. Yuen let their body style develop and then worked with each actor's strength. He built on Reeves' diligence, Fishburne's resilience, Weaving's precision, and Moss's feminine grace. Yuen designed Moss' moves to suit her deftness and lightness. Prior to the pre-production, Reeves suffered a two-level fusion of his cervical spine which had begun to cause paralysis in his legs, requiring him to undergo neck surgery. He was still recovering by the time of pre-production, but he insisted on training, so Yuen let him practice punches and lighter moves. Reeves trained hard and even requested training on days off. However, the surgery still made him unable to kick for two out of four months of training. As a result, Reeves did not kick much in the film. Weaving had to undergo hip surgery after he sustained an injury during the training process. Production design See also: In the film, the code that composes the Matrix itself is frequently represented as downward-flowing green characters. This code uses a custom typeface designed by Simon Whiteley, which includes mirror images of characters and Western letters and. The color green reflects the green tint commonly used on early. Lynne Cartwright, the Visual Effects Supervisor at , supervised the creation of the film's opening title sequence, as well as the general look of the Matrix code throughout the film, in collaboration with Lindsay Fleay and Justen Marshall. The portrayal resembles the opening credits of the 1995 Japanese cyberpunk film, , which had a strong influence on the Matrix series. It was also used in the subsequent films, on the related website, and in the game , and its drop-down effect is reflected in the design of some posters for the Matrix series. The code received the Runner-up Award in the 1999 Jesse Garson Award for In-film typography or opening credit sequence. In addition, the Matrix scenes' were slightly more decayed, monolithic, and grid-like, to convey the cold, logical and artificial nature of that environment. The was designed to have a patched-up look, instead of clean, cold and sterile space ship interior sets as used on films like. For the scene when Neo wakes up in the pod connected to the Matrix, the pod was constructed to look dirty, used, and sinister. During the testing of a breathing mechanism in the pod, the tester suffered hypothermia in under eight minutes, so the pod had to be heated. For example, Reeves' office costume was designed for Thomas Anderson to look uncomfortable, disheveled, and out of place. Barrett sometimes used three types of fabric for each costume, and also had to consider the practicality of the acting. The actors needed to perform martial art actions in their costume, hang upside-down without people seeing up their clothing, and be able to work the wires while strapped into the harnesses. For Trinity, Barrett experimented with how each fabric absorbed and reflected different types of light, and was eventually able to make Trinity's costume mercury-like and oil-slick to suit the character. For the Agents, their costume was designed to create a secret service, undercover look, resembling the film. The sunglasses, a staple to the film's aesthetics, were commissioned for the film by designer Richard Walker from sunglass maker Blinde Design. Filming All but a few scenes were filmed at in Sydney, and in the city itself, although recognizable landmarks were not included in order to maintain the impression of a generic American city. The filming helped establish as a major film production center. Filming commenced in March 1998 and wrapped in August 1998; took 118 days. Due to Reeves' neck injury, some of the action scenes had to be rescheduled to wait for his full recovery. As a result, the filming began with scenes that did not require much physical exertion, such as the scene in Thomas Anderson's office, the interrogation room, or the car ride in which Neo is taken to see the Oracle. Locations for these scenes included fountain in Sydney, half-way between it and the adjacent Colonial Building, and the Colonial Building itself. During the scene set on a government building rooftop, the team filmed extra footage of Neo dodging bullets in case the process did not work. Moss performed the shots featuring Trinity at the beginning of the film and all the wire stunts herself. The rooftop set that Trinity uses to escape from Agent Brown early in the film was left over from the production of , which has prompted comments due to the thematic similarities of the films. During the rehearsal of the lobby scene, in which Trinity runs on a wall, Moss injured her leg and was ultimately unable to film the shot in one take. She stated that she was under a lot of pressure at the time and was devastated when she realized that she would be unable to do it. The dojo set was built well before the actual filming. During the filming of these action sequences, there was significant physical contact between the actors, earning them bruises. Because of Reeves's injury and his insufficient training with wires prior to the filming, he was unable to perform the triple kicks satisfactorily and became frustrated with himself, causing the scene to be postponed. The scene was shot successfully a few days later, with Reeves using only three takes. Yuen altered the choreography and made the actors pull their punches in the last sequence of the scene, creating a training feel. The filmmakers originally planned to shoot the subway scene in an actual subway station, but the complexity of the fight and related wire work required shooting the scene on a set. The set was built around an existing train storage facility, which had real train tracks. Filming the scene when Neo slammed Smith into the ceiling, , Reeves' stunt double, sustained several injuries, including broken ribs, knees, and a dislocated shoulder. Another stuntman was injured by a hydraulic puller during a shot where Neo was slammed into a booth. The office building in which Smith interrogated Morpheus was a large set, and the outside view from inside the building was a large, three story high. The helicopter was a full-scale light-weight mock-up suspended by a wire rope operated a tilting mechanism mounted to the studio roofbeams. The helicopter had side mounted to it a real minigun, which was set to cycle at half normal full 3000 rounds per min firing rate. The visual effect of the helicopters rotating blades was effected by using strobe lighting. To prepare for the scene in which Neo wakes up in a pod, Reeves lost 15 pounds and shaved his whole body to give Neo an emaciated look. The scene in which Neo fell into the sewer system concluded the principal photography. According to The Art of the Matrix, at least one filmed scene and a variety of short pieces of action were omitted from the final cut of the film. A scene would be computer modeled to decide the positioning of the physical cameras. The actor then provided their performance in a setup, while the cameras were fired in rapid succession, with fractions of a second delay between each shot. The result was combined with CGI backgrounds to create the final effect at 0:33. As for artistic inspiration for bullet time, I would credit , who co-wrote and directed , which definitely blew me away, along with director. His music videos experimented with a different type of technique called view-morphing and it was just part of the beginning of uncovering the creative approaches toward using still cameras for special effects. Our technique was significantly different because we built it to move around objects that were themselves in motion, and we were also able to create slow-motion events that 'virtual cameras' could move around — rather than the static action in Gondry's music videos with limited camera moves. The Wachowskis first imagined an action sequence that slowed time while the camera pivoted rapidly around the subjects, and proposed the effect in their screenplay for the film. When read the script, he pleaded with an effects producer at to let him work on the project, and created a prototype that led to him becoming the film's visual effects supervisor. The method used for creating these effects involved a technically expanded version of an old art photography technique known as time-slice photography, in which an array of cameras are placed around an object and triggered simultaneously. Each camera is a still-picture camera not a motion picture camera, and it contributes just one frame to the video sequence. The bullet time effect is similar but slightly more complicated, incorporating temporal motion so that rather than appearing totally frozen, the scene progresses in slow and variable motion. The cameras' positions and exposures were using a 3D simulation. Instead of firing the cameras simultaneously, the visual effect team fired the cameras fractions of a second after each other, so that each camera could capture the action as it progressed, creating a super slow-motion effect. When the frames were put together, the resulting slow-motion effects reached a of 12,000 per second, as opposed to the normal 24 frames per second of film. Standard movie cameras were placed at the ends of the array to pick up the normal speed action before and after. Because the cameras circle the subject almost completely in most of the sequences, computer technology was used to edit out the cameras that appeared in the background on the other side. To create backgrounds, Gaeta hired George Borshukov, who created 3D models based on the geometry of buildings and used the photographs of the buildings themselves as texture. Manex Visual Effects used a farm running the to render many of the film's visual effects. Manex also handled creature effects, such as Sentinels and machines in real world scenes; Animal Logic created the code hallway and the exploding Agent at the end of the film. DFilm managed scenes that required heavy use of digital compositing, such as Neo's jump off a skyscraper and the helicopter crash into a building. The ripple effect in the latter scene was created digitally, but the shot also included practical elements, and months of extensive research were needed to find the correct kind of glass and explosives to use. The scene was shot by colliding a quarter-scale helicopter mock-up into a glass wall wired to concentric rings of explosives; the explosives were then triggered in sequence from the center outward, to create a wave of exploding glass. The photogrametric and image-based background approaches in The Matrix 's bullet time evolved into innovations unveiled in the sequels and. The method of using real photographs of buildings as texture for 3D models eventually led the visual effect team to digitize all data, such as scenes, characters' motions and expressions. With these highly detailed collected data, the team were able to create virtual cinematography in which characters, locations, and events can all be created digitally and viewed through virtual cameras, eliminating the restrictions of real cameras. Sound effects and music See also: and was responsible for creating the sound effects for the film. The fight scenes sound effects, such as the whipping sounds of punches were created using thin metal rods and recording them, then editing the sounds. The sound of the pod containing a human baby closing required almost fifty sounds put together. The film's was composed by. He noted that mirrors appear frequently in the film: reflections of the blue and red pills are seen in Morpheus's glasses; Neo's capture by Agents is viewed through the rear-view mirror of Trinity's motorcycle; Neo observes a broken mirror mending itself; reflections warp as a spoon is bent; the reflection of a helicopter is visible as it approaches a skyscraper. Davis focused on this theme of reflections when creating his score, alternating between sections of the orchestra and attempting to incorporate ideas. Davis' score combines orchestral, choral and synthesizer elements; the balance between these elements varies depending on whether humans or machines are the dominant subject of a given scene. In addition to Davis' score, The Matrix soundtrack also features music from acts such as , , , , , , , , , , and. The Matrix also makes reference to the ideas of , , , , and. The Matrix 's premise resembles the Christian of the. The book was required reading for the actors prior to filming. Baudrillard himself said that The Matrix misunderstands and distorts his work. Interpretations of The Matrix often reference Baudrillard's philosophy to demonstrate that the film is an for contemporary experience in a heavily commercialized, media-driven society, especially in developed countries. The influence of the matrixial theory of articulated in a series of books and essays from the end of the 1980s onwards was brought to the public's attention through the writings of art historians such as and film theorists such as Heinz-Peter Schwerfel. This Matrix is fragile yet it is resistant to the dominating Matrix of the mechanical coded simulated and manipulated consciousness that forecloses and rejects it. In the Ettingerian matrixial sphere freedom goes together with responsibility. This is then another kind of Matrix hidden behind the Baudrillard kind. The Matrix belongs to the genre of science fiction, and draws from earlier works in the genre such as by. Other writers have also commented on the similarities between The Matrix and Dick's work; one example of such influence is a Philip K. Dick's 1977 conference, in which he stated: We are living in a computer-programmed reality, and the only clue we have to it is when some variable is changed, and some alteration in our reality occurs. The Wachowskis' approach to action scenes drew upon their admiration for such as and. Mitsuhisa Ishikawa of , which produced Ghost in the Shell, noted that the anime's high-quality visuals were a strong source of inspiration for the Wachowskis. The action scenes of The Matrix were also strongly influenced by live-action films such as those of director. The martial arts sequences were inspired by , a critically acclaimed 1995 martial arts film starring. The fight scenes in Fist of Legend led to the hiring of Yuen as fight choreographer. The film makes several references to 's. The pods in which the machines keep humans have been compared to images in , and the work of. The Wachowskis have described 's as a formative cinematic influence, and as a major inspiration on the visual style they aimed for when making The Matrix. Reviewers have commented on similarities between The Matrix and other late-1990s films such as , , and. Comparisons have also been made to 's comic series ; Morrison believes that the Wachowskis essentially plagiarized his work to create the film. Comparisons have also been made between The Matrix and the books of. The similarity of the film's central concept to a device in the long-running series has also been noted. As in the film, the of that series introduced in the 1976 serial is a massive computer system which one enters using a device connecting to the head, allowing users to see representations of the real world and change its laws of physics; but if killed there, they will die in reality. Philosophical influences The Matrix as a generated reality - the invention of malicious machines - is a reference to ' , or. The Meditation hypothesizes that the perceived world might be a comprehensive illusion created to deceive us. The same premise can be found in 's scenario proposed in the 1980s. One can also make a connection between the premise of The Matrix and 's ; once one accepts that The Matrix is an illusion, then the allegory of the cave becomes clear. The allegory is related to Plato's , which holds that the true essence of an object is not what we perceive with our senses, but rather its quality, and that most people perceive only the shadow of the object and are thus limited to false perception. Kant states in his that people come to know and explore our world through synthetic means language, etc. This means we ourselves are our own agents of deceit, and so in order for one to know truth, one must choose to openly pursue truth. One may examine this explicitly in the scene with Agent Smith's monologue about the first version of the Matrix, which was designed to be a human , a perfect world without suffering and with total happiness. No one accepted the program. The world in 1999 was far from a utopia, but still humans accepted this over the suffering-less utopia. This is Kantian, because the machines wished to impose a perfect world on humans in an attempt to keep people content to remain completely submissive to the machines, both consciously and subconsciously, but humans are not easy to make content. How would you know the difference from the real world and the dream world? After its DVD release, it was the first DVD to sell more than one million copies in the US, and went on to be the first to sell more than three million copies in the US. By November 10, 2003, one month after The Matrix Reloaded DVD was released, the sales of The Matrix DVD had exceeded 30 million copies. The film was also released standalone in a 10th anniversary edition Blu-ray in the Digibook format on March 31, 2009, 10 years to the day after the film was released theatrically. In 2010, the film had another DVD release along with the two sequels as The Complete Matrix Trilogy. In North America, it became the fifth highest grossing film of 1999 and the highest grossing R-rated film of 1999. Worldwide it was the fourth highest grossing film of the year. Critical response The Matrix received acclaim from most critics, and is widely regarded as one of the greatest of all time. There's not much humor to keep it all life-size, and by the final stretch it's become bloated, mechanical, and tiresome. This dazzling pop allegory is steeped in a dark, pulpy sensibility that transcends nostalgic pastiche and stands firmly on its own merits. In a limited and profoundly geeky sense, this might be an important and generous film. The Wachowskis have little feeling for character or human interaction, but their passion for movies—for making them, watching them, inhabiting their world—is pure and deep. You can see they argued it out! The Matrix seemed fresh and cool and visually breathtaking; making wonderful, intelligent use of CGI to augment the on-screen action, striking a perfect balance of the real and the hyperreal. It was possibly the coolest film I had ever seen. Awards Main article: The Matrix received for , , , and. The filmmakers were competing against other films with established franchises, like , yet they won all four of their nominations. The Matrix also received awards for and , in addition to nominations in the , and categories. In 1999, it won for and. Award Category Name Outcome Won , , , Won Won , , , Won Nominated Zach Staenberg Nominated Nominated David Lee, John Reitz, Gregg Rudloff, David Campbell, Dane A. Davis Won John Gaeta, Steve Courtley, Janek Sirrs, Jon Thum Won — Won Won Nominated Nominated Nominated Nominated Nominated , , Wendy Sainsbury Nominated John Gaeta, Janek Sirrs, Steve Courtley, Jon Thum Nominated The Matrix had a strong effect on action film-making in Hollywood. The film's incorporation of techniques, including the involvement of and other personnel with a background in , affected the approaches to fight scenes taken by subsequent Hollywood action films, moving them towards more Eastern approaches. The success of The Matrix created high demand for those choreographers and their techniques from other filmmakers, who wanted fights of similar sophistication: for example, wire work was employed in 2000 and 2000 , and Yuen Woo-ping's brother Yuen Cheung-Yan was choreographer on 2003. The Matrix 's Asian approach to action scenes also created an audience for Asian action films such as 2000 that they might not otherwise have had. Following The Matrix, films made abundant use of slow-motion, spinning cameras, and, often, the effect of a character freezing or slowing down and the camera dollying around them. The Matrix 's signature special effect, and other aspects of the film, have been numerous times, in comedy films such as 1999 , 2000 , 2001 , 2002 ; in which the relationship between Neo and Morpheus is represented as an imaginary encounter between and ; and in video games such as. The original 1982 paved the way for The Matrix, and The Matrix, in turn, inspired to make its own Matrix with a Tron sequel, 2010. Everything I've done since then has been because of that experience. The film also created one of the most devoted movie fan-followings since , and was even briefly blamed for the. The combined success of the Matrix trilogy, the and the made Hollywood interested in creating trilogies. Stephen Dowling from the BBC noted that The Matrix 's success in taking complex philosophical ideas and presenting them in ways palatable for impressionable minds might be its most influential aspect. In 2007, Entertainment Weekly called The Matrix the best science-fiction piece of media for the past 25 years. The Matrix was voted as the fourth best sci-fi film in the 2011 list , based on a poll conducted by and. These were in one and released on separate dates in 2003. The first film's introductory tale is succeeded by the story of the impending attack on the human enclave of by a vast machine army. The sequels also incorporate longer and more ambitious action scenes, as well as improvements in bullet time and other visual effects. Also released was , a collection of nine animated short films, many of which were created in the same style that was a strong influence on the live action trilogy. The Animatrix was overseen and approved by The Wachowskis, who only wrote four of the segments themselves but did not direct any of them; much of the project was developed by notable figures from the world of anime. The franchise also contains three video games: 2003 , which contains footage shot specifically for the game and chronicles events taking place before and during ; 2004 , an which continued the story beyond The Matrix Revolutions; and 2005 , which focuses on Neo's journey through the trilogy of films. The franchise also includes , a series of and short stories set in the world of The Matrix, written and illustrated by figures from the comics industry. Most of the comics were originally presented for free on the official Matrix website; they were later republished, along with some new material, in two printed volumes, called The Matrix Comics, Vol 1 and Vol 2. In March 2017, Warner Bros. According to neither The Wachowskis nor Joel Silver were involved with the endeavor, although the studio would like to get at minimum the blessing of The Wachowskis. Retrieved May 12, 2013. Retrieved March 21, 2017. Retrieved June 24, 2009. Retrieved August 13, 2012. Archived from on December 22, 2012. Retrieved December 22, 2012. Retrieved November 15, 2012. Archived from on May 23, 2009. Retrieved November 15, 2012. Interview with the Wachowski Brothers. Retrieved November 29, 2012. We liked Ghost in the Shell and the Ninja Scroll and Akira in anime. One thing that they do that we tried to bring to our film was a juxtaposition of time and space in action beats. Retrieved July 7, 2012. Retrieved July 11, 2008. Retrieved January 29, 2012. Archived from on May 8, 2007. Retrieved May 7, 2007. Retrieved December 21, 2012. Honestly, I didn't think they could do it, it was too ambitious. I saw Bound and I loved it. I would have been trying to make jokes. Now I would have loved to take a shot and see what I would have done with it and I know now I could absolutely have been mature enough to get out the way. But back then I don't think I was. Retrieved January 4, 2013. Retrieved December 8, 2007. Archived from on April 17, 2004. Retrieved April 8, 2013. Retrieved December 30, 2012. The League of Extraordinary Gentlemen DVD. United States: 20th Century Fox. Archived from on June 2, 2013. Retrieved December 22, 2012. The Matrix is the most influential action movie of its generation. They triggered countless pale imitations and dull-witted parodies. Retrieved September 20, 2013. Archived from on May 16, 2008. Retrieved September 20, 2013. Retrieved August 15, 2013. Retrieved December 4, 2012. Retrieved December 24, 2012. Retrieved December 5, 2012. In lieu of landscape, only crude phosphor-green polygons, the basic units of video graphics rendering, in the primal monochrome of an old CRT. The raw material of the simulation is even more basic in The Matrix — machine language itself, in the same familiar green... Retrieved July 7, 2012. Retrieved December 24, 2012. Retrieved December 18, 2006. The Art of The Matrix. Titan Books Ltd published November 24, 2000. Retrieved December 4, 2012. Retrieved December 18, 2009. Digital Encounters New ed. Retrieved December 25, 2012. Graduate School of Computer and Information Sciences, Nova Southeastern University. Archived from PDF on December 27, 2012. Retrieved December 27, 2012. Mumbai: School of Broadcasting and Communication. Archived from on December 27, 2012. Retrieved December 27, 2012. Retrieved January 29, 2012. Retrieved July 19, 2012. Archived from on December 27, 2012. Retrieved December 28, 2012. The Journal of Religion and Film. Retrieved February 21, 2018. Retrieved November 15, 2012. Retrieved January 29, 2012. Archived from on January 13, 2008. Retrieved January 31, 2010. In Arnold, Dana; Iversen, Margaret. In De Zegher, Catherine. Kino und Kunst in German. Fine Art, Leeds University, 1995. Retrieved January 16, 2012. One of the obstacles in the selling of this movie to the industry at large is that everyone says, 'Oh, well, The Matrix did it already. Garden City, NY: Doubleday and Company, 1969. Retrieved December 4, 2012. Fluttering pigeons heralding a fight, a shooter with two guns blazing — pure Woo. Retrieved May 25, 2010. Retrieved March 15, 2017 — via YouTube. Retrieved March 15, 2017 — via YouTube. Retrieved March 15, 2017. Retrieved March 15, 2017. Retrieved December 13, 2012. Retrieved December 13, 2012. Retrieved January 30, 2010. Retrieved September 4, 2012. Archived from on September 12, 2012. Retrieved September 15, 2012. Retrieved September 17, 2012. Retrieved September 18, 2015. Retrieved September 18, 2015. Archived from on May 25, 2010. Retrieved September 17, 2012. The film is a perfect product of its time. It is a very modern conspiracy thriller, a film based, like The Truman Show, on the appealingly terrifying notion of a universal conspiracy — that life itself and everything that we know and take for granted are lies. It's also a film steeped in the traditionals of Japanese anime and megamixed philosophy and semiotics spot the Baudrillard references kids. Retrieved January 9, 2012. The Matrix was the third in a cycle of movies to arrive in the late nineties with a strikingly similar theme. Like its predecessors from the previous year, Dark City and The Truman Show, it tells the story of a seemingly ordinary man who suddenly finds that his whole life is faked: he is trapped in an artificially created environment designed to keep him in submission. Like the heroes of those earlier movies, Keanu Reeves' Neo starts to realise that he is somehow special, and tries to escape the confines of his prison. Supergods: Our World in the Age of the Superhero. I was taken to see The Matrix... 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