A new screen for major roles—and there's no doubt about it—Matrix Reloaded is perhaps a true work of art. Though it's just one film, it carries enough weight to make you sit through an ending that feels like it lasts forever.
Billy had begun performing his scenes again. It was unusual for such an intense scene to be filmed this way. He had to be practically naked in one take, next to Anne Carrie Moss, who just shrugged—it didn't matter to her. Her raw, visceral way of saying "this is the job" seemed like a response formed by years of work where little was questioned. Still, it was clear that, like a ship that had already set sail, the production was heading toward the year 2000, when his role would be officially dispatched.
–I think we'll start with the basic scenes. –Billy said, noticing they'd begin with the elevator, and later shift into a new type of sequence—something set to music. Dozens of cameras were already rolling, and he hoped nothing would be done outside the bounds of protocol. But it was clear he needed to leave behind the role of just a simple romantic lead. This would be a second story, one of a man in love, and a third, if he filmed in Star Wars, would bring a flow of detachment.
–I want to make something magnificent. –he whispered, before sending a message to JimWaitt. If the movie had to be delayed by at least a month, so be it—he wanted a piece of art. Something more revealing for him, something that defined a new kind of work worth doing. Maybe something part of a cast steeped in drama, horror, and conflict—something that could shake off the two-sinister rule. He'd fund Rounders, shoot another film, and push Star Wars to March while telling George to handle the development of the series.
The money wouldn't be lost, but no production could be allowed to stall. And when something stalled, it was never good. But big productions didn't fulfill him the way smaller films once did—when he'd wear nothing but sweats, stroll through a park, or play a fool chasing a child in love through the biting cold. It couldn't be any other way.
Long productions were like races against time. They drained him. It was exhausting from every angle. And the unpredictable need to add a few extra days always arose. Working on a project for over 90 days was taxing—studying the script daily, performing long scenes, and meeting the director's expectations.
…
Andy framed the shot while the set on the second floor managed to capture the little that truly held his interest. They were nearly ten meters high.
An aluminum screen, a slow take where the character found his own space—he held his profile at a distance. He didn't want to intrude. Each extra had their position on either side of the stage.
On one hand, he needed to provide a bit of calm for the upcoming scenes. It bothered him to shoot solo, without any guidance or a comfortable setup. But it didn't matter. They'd done a thorough rehearsal, and for now, there was nothing urgent or action-heavy in this recording.
–Scene 3, take 2.
Nabuchadnezzar.
A rudimentary ship—metal doors clanking, steam hissing above. The vessel moved through a magnetic ring of electricity, the way the power lines flickered making even the smallest detail jolt. A nebulous design, where conduits surged forward and upward.
Link: This is Nabuchadnezzar, approaching. Requesting access to Gate 3.
Zion Virtual Control Operator: Nabuchadnezzar, this is Zion Control. Maintain current speed and stand by.
Link: Roger that, Control.
Zion Virtual Control Operator: Zion Control requesting immediate disarmament at Gate 3. Nabuchadnezzar is approaching. Preparing to open. Nabuchadnezzar, you are cleared for Gate 3, Platform 7.
Billy/Neo was already above. The camera began filming him from multiple angles—a perfect approach. On one side, Trinity awaited with her ocean-blue eyes and her quiet presence, archived within Neo's world.
Link: Copy that, Control.
Zion Virtual Control Operator: Gate is open, bed is made. Welcome home.
Link: There's no place like it.
Zion Controller: [?] Control. Zion Control, ready to close Gate 3.
Zion Virtual Control Operator: Nabuchadnezzar has landed. Platform 7.
Zion Controller: Copy that.
Morpheus: Captain Mifune.
Mifune: Captain Morpheus.
Morpheus: Have you come to escort me to the barricade, Captain?
Mifune: I'm just here to keep the peace.
Lock's Lieutenant: Commander Lock demands—
Mifune: coughs
Lock's Lieutenant: —requests your immediate counsel, sir.
Morpheus: Link.
Link: Sir?
Morpheus: Have the ship ready to depart as soon as possible.
Link: Understood, sir.
…
The cameras moved in from opposite angles—almost like a request, designed to show intimacy, even though the moment was shared with everyone. The camera closed in, capturing Billy's trace. Everyone moved. The scene widened. They switched to a rear camera shot as the two characters turned around—the cameraman discreetly ducked to avoid entering the frame.
Neo: What's going on between them?
Trinity: Morpheus and Lock? Niobe.
Neo: Captain Niobe?
Trinity: She used to be with Morpheus. Now she's with Lock.
Neo: What happened?
Trinity: Morpheus went to the Oracle. After that, everything changed.
Neo: Yeah, she tends to do that.
They entered the giant gate—a burrow, a city clinging to the walls of a vast chasm, full of caves and a cliff that seemed bottomless.
–Cut. –Andy said with a slight smile, reviewing the entire four-minute scene from various angles. The footage for this film was expected to run at least ten hours, designed to fully develop the storylines and explore the Matrix's ending from different perspectives.
–Let's resume in fifteen. –Andy said, while everyone began adjusting the next setup. For Billy, it meant a small break—just enough time to prepare. All the upcoming Neo scenes would be shot in front of a green screen or inside a machine. The rest would involve him in his black suit, fighting—where he'd have to perform yet another action choreography, this time across a table.
...