Lana Wachowski explains how Cloud Atlas allowed one of the major visual evolutions of Matrix 4 : Resurrections.
Since its first trailer, Matrix 4 : Resurrections makes us ask a thousand and one questions about the relaunch of the Matrix : on the future of Neo and Trinity, on the explanations of the change of actor for Morpheus, and we are even told (not to help us) that the film is not a sequel strictly speaking.
Multiple questions which fall within the scope of the scenario. Corn Matrix, it is also a very big force of realization, as much for its revolutionary special effects of the time as for its so particular visual atmosphere. And according to the trailer, what awaits us there is also very different from the original trilogy. But so as not to definitively bypass the neurons of its spectators, before they reach the theaters, Lana Wachowski explained the new biases of her directing, which she says she draws from Cloud Atlas.
“Oh yeah, we took out the green-gray filter”
For the December 2021 issue of the magazine Premiere, the director was interviewed. She is questioned there about the much more “solar” atmosphere of the film, unlike the original trilogy. with much darker, desaturated and subdued hues. This is where she explained her relationship with light, from her beginnings as a director to Matrix 4, when the magazine asked him why there was this development:
“Because Cloud Atlas! It is, artistically speaking, the film that marked me the most, at least the one that really made me progress as a director. I worked very closely with Tom Tykwer, John Toll and Daniele Massaccesi. These three made me grow a lot. As a young filmmaker, I hated natural light; I couldn’t stand the sun. I wanted to be able to shape the light and give it the shape I wanted. I liked the shadows. , I liked the brutality of the contrasts.
Look at Bound, Matrix… the light in these films is very “sharp”, very controlled. I was influenced by film noir and its aesthetic. And then, on Cloud Atlas, thanks to the three people I mentioned, I discovered another way to illuminate. I understood the madness and the power of the unforeseen that seizes the setting in scene when one starts to play with the sun. I admit that I hated it at first. It was very frustrating that my light source was gone, that it was never where I expected it to be.
“We can even play against the light, it’s crazy!”
And then there was an epiphany moment. I saw the magic that the sun can bring to a scene. Suddenly a shot was glittering and it was beautiful. This quality of light, this density: no special effect could reproduce it […] Yes, I kind of had to lose control of my light.
This is one of the reasons I have always loved working with actors: what they give is never reproducible. Each take is unique. So can you imagine when I discovered that I could make the sun and the actors interact? It was a revelation, literally. I felt like I connected two incredibly powerful forces ! […] Basically, I tried to bring natural light back into the Matrix. “
The yellow-orange path
So here is the explanation of this range of more “classic” colors in the Matrix. For the few skeptics who might have believed that Wachoswki forgot to press the filter button on her camera, rest assured: the director did it on purpose and intends to let it be known that this relaunch of the saga will stand out from the style of the first three films (and we will have to, otherwise we risk an effect The force awakens).
Nevertheless, we would not be against a little explanation internal to the diegesis of the film. The Matrix being a virtual reality whose codes will possibly have changed with the resurrection of Neo and Trinity, and the “reincarnation” of Morpheus, there must be an explanation for this visual bias. To have a potential answer, we will have to go to theaters on December 22, 2021.