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Gistech

The Matrix reboot (rumour)

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Count me not.

 

If they bring Toll to shoot the film, though, it’ll look better than the strong green tint of the original The Matrix. Doubt the piece as a whole would be improved upon.

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The strong green tint was only added later in the blu ray release. 

 

The recent 4K release is a better representation of how the film originally looked in the cinema. 

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With all due respect to the unnamed sources that provide exclusive information to Discussing Film dot net for some reason, I find it highly doubtful that the Wachowskis would direct a script they didn’t develop themselves.

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6 hours ago, John said:

The strong green tint was only added later in the blu ray release. 

 

 

Quote

 

Wachowskis: One of the things we tried to do with the Neb for when we were shooting “in the real world” was use long lenses to separate the humans from the backgrounds as opposed to when we shot the Matrix we used short lenses to place the humans in specific deep spaces. We also tinted all of the lights blue in the “real world” and green in the Matrix.

...

Spark: What made you decide on the green tint for being in the Matrix?

Wachowskis: It was a whole motif inspired by the phosphorous green of old PC’s.

 

 

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@Alexcremers A counterpoint, taken from blu-ray.com’s review of the 4K release:

 

Quote

One of the recurrent criticisms of the Matrix's original Blu-ray (and, before it, the DVD) was the pervasiveness and intensity of the green tint cast over the "data" world. The 4K disc effectively addresses such complaints by fine-tuning the green cast and limiting its reach. The difference is evident from the opening Warner Brothers and Village Roadshow logos, which were previously solid green and are now a combination of green with black-and-white. The refinements continue in the signature opening sequence where Trinity fights the police and flees the agents. The environment still has multiple green elements, but now other hues are also visible, including a few blues. The stylized wash that used to cover every shot is no more. For a particularly revealing example, look at the scene where Agent Smith rams a truck into the phone booth through which Trinity makes her escape (see screenshot 38). Only the phone booth is green, while the smoke surrounding the truck is a combination of white and blue—and the pavement looks like authentic city asphalt with just a few tell-tale green highlights. To borrow Jan Yarbrough's phrase, green is "ever present"—but it isn't everywhere.

 

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11 hours ago, mstrox said:

With all due respect to the unnamed sources that provide exclusive information to Discussing Film dot net for some reason, I find it highly doubtful that the Wachowskis would direct a script they didn’t develop themselves.

Fair point, but it's also important to note that they've failed to produce any sort of hit with a big budget multiple times in a row. This could be the caveat for them to get back into Hollywood.

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10 hours ago, Dieter Stark said:

Star Trek: Generations also has a green tint on Blu-ray.

 

Does it have a reason (is it important to the story like The Matrix) or is it just Star Trek trying to be in vogue (by jumping on the green tint bandwagon)?

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7 minutes ago, Alexcremers said:

 

Does it have a reason (is it important to the story like The Matrix) or is it just Star Trek trying to be in vogue (by jumping on the green tint bandwagon)?

 

Probably just poor color timing.

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Keanu is the heart and soul of The Matrix franchise, alongside Davis' idiosyncratic combination of Hollywood action licks and high-end post-modernism from Adams, Glass, Corigliano, Reich and infinity.

 

If they reboot, Davis is a must, though not sure if he is even interested in scoring real films....I mean that downfall from Matrix: Revolutions to the John Cena 'piece' The Marine to a live action Tokyo Ghoul to some cheap beyond DTV flick this year is the quickest fall from grace (well, one that took place over 20 years) I've ever seen. Yeah, his opera is not great but taking a year out never destroyed anyone's careers quite like this - or was it that he turned down Speed Racer and got a bad rep for that? But again, doesn't quite fit with Davis' character....he seems to be a very amiable individual.....and I doubt the Wachowskis' would fuck up his career, considering the work he did for them on Bound etc. What the fuck happened?

I mean, Davis still composes like this awesome Gothic masterpiece so why is no one hiring him:

 

 

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yI agree that Davis, at the absolute least, is a must. He fell off the radar for years, then scored the Japanese Tokto Ghoul film. I'd love to see Keanu back but he's stated he'd only do it if the Wachowskis were involved and that's clearly not going to be the case.

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And to keep harping on, - check out this rejected score clip from the Matrix: Reloaded (Davis might have used this for his Robin Hood supplement score though) - it is practically awesome on all fronts, swashbuckling is thy name:

 

Gistech - do you mean Tokyo Ghoul or did he score another anime adaptation Attack on Titan - would fracking love that.

And Davis' collaboration with Juno Reactor needs to be explored further.  Mona Lisa Overdrive is still very likely the leading and certainly the most organic techno-orchestral fusion of all time and it's 17 years old. How did these people collaborate? I mean Juno was HUGE back in 2002 so to have them do this with Davis-----awesome. But what did they do, how did they come up with the rhythms, the crazy orchestrations etc.

 

Cos this is not like Event Horizon where Orbital laid some beats under/over Kamen, this is an actual collaboration:

 

 

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9 hours ago, thestat said:

Gistech - do you mean Tokyo Ghoul or did he score another anime adaptation Attack on Titan - would fracking love that.

 

 

All these live action movies even coming out of Japan... yeah, I meant Tokyo Ghoul. My bad :P

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While I like Rob Dougan's "Chateau" I really love Don Davis' original piece more and fits the sequence for the film better.  I really wish they had not replaced it with Rob Dougan's piece.  

Even though I've got Rob Dougan's piece for my iPod I might go back and replace it with Don Davis' original piece.

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On 8/13/2019 at 8:13 AM, thestat said:

And Davis' collaboration with Juno Reactor needs to be explored further.  Mona Lisa Overdrive is still very likely the leading and certainly the most organic techno-orchestral fusion of all time and it's 17 years old. How did these people collaborate? I mean Juno was HUGE back in 2002 so to have them do this with Davis-----awesome. But what did they do, how did they come up with the rhythms, the crazy orchestrations etc.

 

This!!! I always wonder how these pieces came about. They're amazing, and the two styles mesh so much better than they have any right to. I wish the entire scores could have included more of this sound.

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