The director doesn’t film the same way at all since she “learned to play” with natural light.
Matrix Resurrections will undoubtedly be the blockbuster event of this end of the year. Keanu reeves and Carrie-Anne Moss, aka Neo and Trinity, are on the cover the new number of First (n ° 524, December 2021), and they tell us about this sequel, just like its director, Lana wachowski. After sharing an excerpt from her interview where she explained for what reasons she had wanted to return to the Matrix, here is another where she talks about her different way of working since the release of the first trilogy, between 1999 and 2003.
First: The trailer reveals one essential thing: the visual style seems more solar than the old trilogy. Why this evolution?
Lana Wachowski: Because Cloud Atlas ! It is, artistically speaking, the film that marked me the most, in any case the one that really made me progress as a director. I worked very closely with Tom Tykwer, John Toll and Daniele Massaccesi (also interviewed for this issue, editor’s note). These three have made me evolve considerably. 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 desired shape. I liked the shadows, I liked the brutality of the contrasts. look Bound, Matrix… the light of 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. And then there was an epiphany moment. I saw the magic that the sun can bring to a scene. Suddenly a shot was sparkling and it was beautiful. This quality of light, this density: no special effect could reproduce it.
You had to give up mastery in a way …
Yes, and that’s one of the reasons I’ve 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! Two forces greater than me! Sometimes, I hear some directors explain to me that they are going to make a shot like this, or like that. I don’t reason in the same way. I feel closer to what Michelangelo said: “By working, by continuing to apply himself to the material, the David was revealed little by little. “ This is exactly how it was born Matrix Resurrections : the film “Revealed itself little by little”. Basically, I tried to bring natural light back into the Matrix. John, Tom, Daniele and I worked very closely. We were able to stay together for the film to reveal itself. And this extraordinary proximity created the conditions necessary to welcome the magic when it presented itself. That’s what changed my way of making films. It feels in Cloud Atlas, a little in Jupiter: The Fate of the Universe and especially in Sense8, which was shot entirely in natural light.
To read the full interview, go to the newsstands or on our online store.
Summary of Premiere n ° 524: Matrix 4, L’Evénement, The Witcher, Ghostbusters: the legacy …
Trailer of Matrix Resurrections, which will be released in theaters on December 22:
The craziest theories about Matrix Resurrections