“The Matrix” sequels shot for 276 days and have been punishing for DP Invoice Pope.
“The Matrix 4” is reuniting writer-director Lana Wachowski with stars Keanu Reeves and Carrie-Ann Moss, however one artistic from the unique motion pictures sitting the brand new movie out is cinematographer Invoice Pope. The Wachowski sisters first labored with Pope on “Bound” earlier than teaming up with him for “The Matrix.” Their work collectively on the 1999 motion movie proved groundbreaking (see: the invention of bullet time), however the highs of collaborating on “The Matrix” weren’t matched whereas filming the 2 sequels, “The Matrix Reloaded” and “The Matrix Revolutions.” Throughout an interview with Roger Deakins on this week’s “Team Deakins” podcast, Pope mentioned taking pictures “The Matrix” sequels have been “mind numbing and soul numbing.”
“Everything that was good about the first experience was not good about the last two,” Pope mentioned. “We weren’t free anymore. People were looking at you. There was a lot of pressure. In my heart, I didn’t like them. I felt we should be going in another direction. There was a lot of friction and a lot of personal problems, and it showed up on screen to be honest with you. It was not my most elevated moment, nor was it anyone else’s. The Wachowskis had read this damn book by Stanley Kubrick that said, ‘Actors don’t do natural performances until you wear them out.’ So let’s go to take 90! I want to dig Stanley Kubrick up and kill him.”
In line with Pope, the Wachowskis adopted a “shoot more takes” mentality on the 2 “Matrix” sequels and it made the expertise “sort of torture.” The cinematographer mentioned he needed to sit by “90 takes of many things” whereas taking pictures the sequels and shared his perception that “you’re not gaining anything [by doing multiple takes].” Pope shot “Reloaded” and “Revolutions” again to again, which solely added to the exhaustion of manufacturing.
“There is something about making a shoot that long, 276 shoot days, that is mind numbing and soul numbing and it numbs the movie,” Pope mentioned. “You think about ‘The Hobbit,’ where they [shot] one, two, and three, and the movies are just numbing. In the books you don’t feel that because you pick it up and put it down. In a movie shoot it’s too long. There’s a limit from what you can take in.”
Whereas the expertise of constructing “The Matrix” sequels was punishing, Pope seems again on the 2 movies with respect. Because the DP instructed Deakins, “I just transferred them all to 4K for archive purposes at Warners. and I wrote the Wachowkis and Keanu and Carrie Ann that we did a good job [on the sequels], we should be proud of them.”
Pope, whose credit additionally embody “The Jungle Book” and several other Edgar Wright options, is presently ready to re-start manufacturing on Marvel’s upcoming tentpole “Shang-Chi and the Legend of the Ten Rings.” He beforehand wrapped filming on Ryan Murphy’s adaptation of “The Boys in the Band,” which is now in post-production. John Toll, the Oscar-winning DP of “Legends of the Fall” and “Braveheart,” is serving as cinematographer on “The Matrix 4.”