Spoiler alert.
I mean, how much do we give away, Carrie-Anne?
- I don't think much. - We don't, right?
We don't. No.
We don't talk about plot or--
no, right?
No, we can't.
- No, we shouldn't. - We shan't.
We can't. We shan't.
We shan't. [CHUCKLES]
We shan't.
We shan't. - I've gotten so sophisticated.
You have.
Yeah, I know.
You've grown.
[MUSIC PLAYING]
I think I realized it when I went to watch it
in a regular theater, not at the premiere,
with a regular audience.
And the excitement during the watching of the film
was something I had never felt before in a movie.
And a lot of the excitement was towards cool things
I was doing.
And so it was really surreal for me.
You know, when Trinity goes down and does that.
You know, people are cheering for her.
And I just was like, it was very moving for me.
I did not expect that.
Yeah, I think that was the first time
that I really felt the weight of how people felt about it.
Yeah, I mean, I guess it was friends.
I mean, I think the first time that I felt like--
I'll say one version was being at a friend's house.
And she had cut-- her and Lily had cut a sizzle reel.
And I played it, because we were gone for, what, eight months?
Seven months?
Eight months?
And so when I came back they're like, what are you doing?
And I was like, this is what I've been doing, you know?
And so I put in this sizzle reel, which
is just highlights and moments.
And my friends were like, what is that?
That is cool.
And I was like, yeah, um.
So that was the first time that I think from the outside world
that I kind of had that experience.
And once the film opened--
I mean, I know like when Bullet Time
started to be in commercials, that cinematically something--
I mean, is it as big as puberty?
I don't know. Maybe.
It's pretty life-changing.
- Yeah. - Yeah.
Yeah.
Life-changing experience.
Puberty and "The Matrix."
[CHUCKLES]
Thomas.
You seem particularly triggered right now.
Can you tell me what happened?
THOMAS ANDERSON: I've had dreams that weren't just dreams.
Am I crazy?
We don't use that word in here.
It kind of started with a text and then a phone call.
I guess my story about it is, it's one of those phone calls
where, even though you're at home, you stand up.
You're, like, in your own house.
You're like, hello?
You stand up.
And she was just saying that she was
thinking about making another film
and asked me if I was interested.
And I was like, yes.
What did you say?
I said yes.
Good.
[CHUCKLING]
CARRIE-ANNE MOSS: Yeah, same with me--
text, call, standing up.
Absolutely.
I mean, this film with Lana's--
the ability that she has to tell this story
is beyond my comprehension.
It's really incredible-- the layers
of her artistry in the writing, and then
the execution of it all.
I think you really go on a journey.
It's an experience.
Watching the movie is a total experience.
I think we both were struck a little bit by how much humor
there was in it.
It's throwing down "The Matrix" gauntlet again.
And it's super smart, clever, entertaining,
suspenseful, funny.
CARRIE-ANNE MOSS: The way that she
was able to bring us back into this is master storytelling.
And when I read it for the first time,
it was with Keanu reading it at a table.
You know, going to that reading, I had no idea, how were we
going to go back to this world?
I fantasized it in my mind, like,
three different scenarios.
I was nowhere close.
I would never have guessed in a million years
that we would go in this direction
and tell the story in this way.
In general, when that zone--
Lana has a real gift for creating
the zone, this creative bubble.
And once that bubble, like, all the preparation has been laid
down, and then she kind of opens this bubble
and she calls action, it felt pretty magical.
Yeah, definitely the way that she--
I mean, I guess the biggest thing
fundamentally was her kind of attraction to natural light,
right?
It's probably more than an attraction.
She loves it.
Yes.
We were spending many days--
the ADs would be looking at sunset and sunrise.
Yeah.
So I think that and this, she was definitely participating
more with the movement of the camera,
interested in natural light.
Whereas before, she would direct and be looking
at things through the monitor.
Now, she's standing next to the camera operator.
And she's moving the camera operator.
So that distance, from here to there, and that--
to be that kind of filmmaker is extraordinary.
It's vast.
And I think she really loves that.
And that's what I could really see, too.
She loves to be right in there.
She wants to enjoy every moment of it.
And you really feel that.
KEANU REEVES: And more interested in doing
than rehearsing.
So we didn't rehearse as much.
And then just kind of do it.
CARRIE-ANNE MOSS: Long takes.
Yeah, long takes.
Just the camera running and going back,
and she's throwing things to us in the middle of the world.
And it was as if she was completely
another part of the dance.
There was a lot of freedom in that as well.
At least I felt quite free with that style of shooting.
Lana's a passionate filmmaker and so knowledgeable
and inventive and brave.
And that filmmaker developed another kind of style to her--
how to realize her vision.
It was just, how did she paint?
And maybe in the beginning, it was more structuralist.
And this was more abstract expression.
But still kind of maybe--
still creating a similar form.
[MUSIC PLAYING]
After all these years, to be going
back to where it all started.
Back to the matrix.
Well, again, it's the training up to it
that I think I'm the most fond of, because it takes
levels of overcoming whatever you need to overcome.
And I invested a lot of time in overcoming any fear
of jumping off that building.
And I remember sitting at the kitchen table with my husband.
And he's like, are you really going to do this?
Are you going to do it?
And I was like, yep.
He's like, really?
And I was like, absolutely.
I don't know how I'm going to get there,
but I know I'm going to get there.
And it was, again, training.
And I wouldn't, you know, doing it
with him, holding hands to do it,
it's something I'll never forget.
Yeah, it was fun.
It was really fun.
You know, I don't have the kind
of skill set that Keanu has.
Keanu has a masterful understanding of action.
And I've seen him grow in the last 20 years.
His way of doing it is--
I'm in awe of it.
Yeah, but you got flavor.
I'm kind of like, you know, I might hurt
somebody by accident, right?
So it's better if I'm fighting--
I'm not fighting him, thank God.
They probably wouldn't get insurance.
It's Trinity.
It's Carrie-Anne Moss Roy Trinity flavor.
All of the fierceness and mind focus and commitment,
it's there in the gestures and untamed and wild
and controlled.
And there's a power to Trinity.
And you're Trinity.
So it's something to behold.
It leaps off the screen.
[MUSIC PLAYING]