Matrix (1999)
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The film's success led to two feature film sequels being released in 2003, The Matrix Reloaded and The Matrix Revolutions, which were also written and directed by the Wachowskis. The Matrix franchise was further expanded through the production of comic books, video games and an animated anthology film, The Animatrix, with which the Wachowskis were heavily involved. The franchise has also inspired books and theories expanding on some of the religious and philosophical ideas alluded to in the films. A fourth film, titled The Matrix Resurrections, was released on December 22, 2021.
The Matrix belongs to the cyberpunk genre of science fiction, and draws from earlier works in the genre such as the 1984 novel Neuromancer by William Gibson.[8] For example, the film's use of the term "Matrix" is adopted from Gibson's novel,[153] though L. P. Davies had already used the term "Matrix" fifteen years earlier for a similar concept in his 1969 novel The White Room ("It had been tried in the States some years earlier, but their 'matrix' as they called it hadn't been strong enough to hold the fictional character in place").[154] After watching The Matrix, Gibson commented that the way that the film's creators had drawn from existing cyberpunk works was "exactly the kind of creative cultural osmosis" he had relied upon in his own writing;[8] however, he noted that the film's Gnostic themes distinguished it from Neuromancer, and believed that The Matrix was thematically closer to the work of science fiction author Philip K. Dick, particularly Dick's speculative Exegesis.[8] Other writers have also commented on the similarities between The Matrix and Dick's work;[145][155][156] 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".[157][158][159][160]
Following The Matrix, films made abundant use of slow-motion, spinning cameras, and, often, the bullet time effect of a character freezing or slowing down and the camera dollying around them.[75] The ability to slow down time enough to distinguish the motion of bullets was used as a central gameplay mechanic of several video games, including Max Payne, in which the feature was explicitly referred to as "bullet time".[174][175] It was also the defining game mechanic of the game Superhot and its sequels. The Matrix's signature special effect, and other aspects of the film, have been parodied numerous times,[26] in comedy films such as Deuce Bigalow: Male Gigolo (1999),[176] Scary Movie (2000),[177] Shrek (2001),[174] Kung Pow! Enter the Fist (2002),[178] Lastikman (2003); Marx Reloaded in which the relationship between Neo and Morpheus is represented as an imaginary encounter between Karl Marx and Leon Trotsky;[179] and in video games such as Conker's Bad Fur Day.[180] It also inspired films featuring a black-clad hero, a sexy yet deadly heroine, and bullets ripping slowly through the air;[26] these included Charlie's Angels (2000) featuring Cameron Diaz floating through the air while the cameras flo-mo around her; Equilibrium (2002), starring Christian Bale, whose character wore long black leather coats like Reeves' Neo;[174] Night Watch (2004), a Russian megahit heavily influenced by The Matrix and directed by Timur Bekmambetov, who later made Wanted (2008), which also features bullets ripping through air; and Inception (2010), which centers on a team of sharply dressed rogues who are able to enter other people's dreams by "wiring in". The original Tron (1982) paved the way for The Matrix, and The Matrix, in turn, inspired Disney to make its own Matrix with a Tron sequel, Tron: Legacy (2010).[181] Also, the film's lobby shootout sequence was recreated in the 2002 Indian action comedy Awara Paagal Deewana.[182]
Also released was The Animatrix, a collection of nine animated short films, many of which were created in the same Japanese animation style[201] 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.[201]
Will Smith was approached to play Neo, but turned down the offer in order to star in Wild Wild West (1999). He later admitted that, at the time, he was "not mature enough as an actor" and that, if given the role, he "would have messed it up". He had no regrets, saying that "Keanu was brilliant as Neo." He also noted that if he had been cast as Neo, the studio wanted Val Kilmer for the Morpheus role, which would have deprived audiences of Laurence Fishburne's iconic performance. Sandra Bullock had been offered the role of Trinity, but turned it down because Will Smith was in the film. She regretted her decision; had she been cast, she would have been reunited with Keanu Reeves, with whom she previously starred in Speed (1994).
The key of the beginning theme you hear at the beginning of every Matrix movie (rousing strings and horn blasts) ascends with each movie. The Matrix (1999) starts in the key of E minor, The Matrix Reloaded (2003) ascends a whole step to F-sharp minor, and The Matrix Revolutions (2003) ascends half a step to the key of G minor.
When Will Smith was being offered the part of Neo, the Wachowskis thought of pairing him with Val Kilmer as Morpheus. According to Smith, the only portion of the film that the Wachowskis pitched to him was the frozen-in-mid-air jump kick scene. This made Smith skeptical and he opted to make Wild Wild West (1999) instead, which was a massive critical and commercial flop winning him two Razzie awards in the process. The film also won Worst Picture.
Ewan McGregor turned down the role of Neo, as he was filming Star Wars: Episode I - The Phantom Menace (1999). Both movies would compete against one another for Best Visual Effects during the Academy Awards ceremony the next year, with The Matrix winning the award.
At the 72nd Academy Awards, Arnold Schwarzenegger presented the Visual Effects award segment which The Matrix (1999) won. A decade earlier Arnold Schwarzenegger starred in the science fiction film Total Recall (1990) which Schwarzenegger stars as a man who goes to the planet Mars to solve of the mystery of himself when a memory implant procedure of a holiday on Mars goes wrong. Like The Matrix, Total Recall is about the nature of reality and about a man whom gets caught up with rebels which he falls in love with a female rebel warrior. In both films, the film's protagonists are offered red pills which will return them to reality.
In Postmodern thought, interpretations of The Matrix often reference Baudrillard's philosophy to demonstrate that the movie is an allegory for contemporary experience in a heavily commercialized, media-driven society, especially in developed countries. Another angle is supplied by French artist, psychoanalyst and feminist theorist Bracha L. Ettinger's "Matrix" Notebooks from the 1980s and Matrixial theory from the 1990s.[26][27] This influence was brought to the public's attention through the writings of art historians such as Griselda Pollock[28] and film theorists such as Heinz-Peter Schwerfel[29]. Ettinger began to articulate the matrixial sphere and the matrixial gaze as a psychic unconscious sphere with social, cultural, spiritual, and finally political implications around 1985, alongside a series of paintings named Matrix.
Her notebooks named "Matrix" were first published in France in 1991, reprinted in 1992 by Deleuze and Guattari, and in 1993 by the MOMA (Museum of Modern Art) in Oxford. Starting a long series of essays on the Matrix with "Matrix and Metramorphosis" (Differences 4(3)) in 1992 and "The Matrixial Gaze" in 1994, Ettinger transformed the debates in psychoanalysis, postmodernism, feminist theory, gaze and aesthetics in terms of the matrixial borderspace already during the 1990s. In Ettinger's matrixial theory the emphasis is on the space of "co-emergence" of several "I" and "non-I", the virtual, potential and actual shareability of traces of trauma and of phantasy (beginning in the womb as matrix), on the mental re-co-birth where subjects are trans-connected by psychic strings and threads to form trans-subjectivity.
Also released was The Animatrix, a collection of nine animated short films, many of which were created in the same Japanese animation style that was a strong influence on the live trilogy. The Animatrix was overseen and approved by the Wachowskis but they only wrote four of the segments themselves and did not direct any of them; much of the project was created by notable figures from the world of anime.
The Matrix (1999) is a kinetic, action-oriented, dystopian science-fiction virtual reality film that came from the directorial-writing team of the Wachowski Brothers. Their ambitious and inventive virtual-reality flick was their second feature film following the lesbian-tinged gangster film Bound (1996).
[Note: The film was also later associated with an anthology or series of nine related animated shorts collectively titled The Animatrix (2003), highlighted by Andy Jones' short Final Flight of the Osiris. The collection of short films detailed the backstory of the "Matrix" universe and the original war between man and machines which led to the creation of the Matrix.]
With an initial production budget of $65 million, the film grossed $171.5 million (domestic) and $460 million (worldwide). The Matrix (1999) was the fifth highest-grossing (domestic) film of 1999. Actor Keanu Reeves earned $10 million upfront (reportedly), plus $25 million for his cut of the final gross. In the year 2000, Warner Home Video announced that the DVD of the Oscar-winning The Matrix (1999) had exceeded the 3 million mark in units sold in the U.S., solidifying its position as the # 1 best-selling DVD of all-time, although it would soon be surpassed. 781b155fdc