And because of that, I was less conscientious of adjusting right from wrong from an outside perspective. I found that, at the end of the day, the Analyst is manipulation incarnate. How did you approach playing this aspect of the character? You walk a really fine tightrope with this script, using the language of mental health in a way that’s manipulative, and Neo’s conspiratorial thinking ends up being proven right. But I think you have to authentically believe it. And I think revealing more about the why of it all - the fact that the Analyst feels that, at the end of the day, people want to be told, and they want to behave in this way, and they need this - is a dark idea.
#Matrix characters movie#
And I think if I had an agenda to it, it probably would have colored the reveals that happen later in the movie because the Analyst, in point of fact, really does want that. I really wanted there to be an authenticity to the earlier scenes of the Analyst to establish that I sincerely wanted Thomas Anderson to feel safe, to not overthink, and to appreciate the here and now. What are the challenges of playing a computer program? He likes to puzzle out how human minds work, and his role is to keep everyone entertained, satiated, and a little beaten down all at once. The way you describe all these moving pieces, whether in casino crowd control or filmmaking, sets you up perfectly for this character you play, the Analyst. So I just wanted to ask her mind-sucky questions when I could get my chance to. To have that breadth of knowledge, I think, is very unique, especially with something that involves stunts and wires and red pills. She has all this knowledge about making humongous stunt scenes with cars that flip and with characters that smash, and yet now she’s also super-skilled at making something where the camera is a part of the story and where things can change, and the actors don’t rehearse and everything is free-form. Lana has an unbelievably deep set of skills because, I think, through her own personal journey, she has evolved creatively as well. It’s sort of where I would love to exist. I like seeing how feature films work differently from rehearsing a Broadway musical, which is so fun, and in the process of that, where the sets go and how it all comes to be. I love the process of wondering how a David Fincher works versus a Lana Wachowski, and they’re very different processes. And now you have to put together disparate things to move on.Īnd that’s kind of how movies are made. You’re in an environment you’re given a quick conceit. Not how do you fix a toaster, but more how does the casino move people through it in a way that is psychological and most effective financially, and keeping them alert, and keeping them satiated and spending money? I like how things work. I’ve always really been interested in knowing how things work, especially complicated things. What fascinates you about that particular structure? I know you’ve designed one of these games before. One thing you share in common with these movies, and with Lana’s sensibility, is that you are very into escape rooms and puzzle-box-type things. When you can combine giant action with intimate sincerity and sort of a mind-altering hypothesis, that’s great, right? I’m a big fan of the stunt show at the theme park, but I also like to watch people actually care about each other. And I was a massive fan of the franchise from the very beginning. I thought Sense8 was a super-next-level, intimate, horny art film via Netflix.
I was only a fan of what she had done and was continuing to do. I had no relationship to Lana and never met her before. Before you got involved with The Matrix Resurrections, what was your relationship to the franchise and the movies?
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