You know, you peel back a layer of reality for yourself.
And then there's another layer to peel back and another layer.
It never ends.
I think that--
I think they, uh--
They weren't ready for that.
I think the studio wasn't ready for that version.
[ENTERTAINMENT WEEKLY AUDIO LOGO]
I love the question of what is reality and what is real?
MORPHEUS: If you're talking about what you can feel, what
you can smell, what you can taste and see,
then real is simply electrical signals
interpreted by your brain.
The movie definitely started that questioning,
even though I'm sure I had been questioning that anyway.
But if I look at how I was questioning reality
20 years ago versus how I'm questioning reality today,
I've definitely grown a lot in that.
So I'm curious about that conversation with people.
You know, how much do we have ourselves
in a perception of ourselves that isn't
maybe even necessarily true?
You know, who are if we're not all the labels that we put
on ourselves at a soul level?
And the idea in "The Matrix" that these human beings are
being controlled by technology and all of those things,
I'm interested in that conversation.
THERAPIST: Thomas, you seem particularly
triggered right now.
Can you tell me what happened?
NEO: I've had dreams that weren't just dreams.
Am I crazy?
We don't use that word in here.
Yeah, I think the contextualization that the film
has offered us as a tool to question systems of control
through what is real, what is reality,
where are we, who are we, what are the forces that are acting
on us, and where's love, and what do we hold dear,
what's important to us, who are we, how do we do it,
why are we doing what we do, I think
those are all contextualized wonderfully in "The Matrix."
And I think "Resurrections," has a nice kind of a--
it's up to date, you know?
It's up to date.
And it's a nice launch pad, a way for us
to maybe think about where we're going
in this next cycle of life.
[MUSIC - GRACE SLICK, "WHITE RABBIT"]
(SINGING) White Knight is talking backwards.
And the Red Queen's "off with her head."
Remember what the dormouse said.
"Feed your head.
Feed your head."
After all these years, to be going back to where it all
started, back to the Matrix.
How they interpret it, how they interpret the painting--
you know, for me, I like to think of us
as we're a part of the paint.
You hope people take something away positive
with them with the work of art.
How they interpret it, yeah, it's up to them I guess.
Yeah, I love being curious about that.
Yeah.
I always love to hear new interpretations
or a different perspective.
Because we all are going to watch a movie
from our own history and our own internal stories that we hold,
so everyone is going to have a different interpretation.
And I think--
Or not.
Or not, I guess.
But you don't think?
They might feel a--
I mean, they might not have--
CARRIE-ANNE MOSS: An interpretation.
Or one that they haven't heard before.
That's true.
But you might hear one that you've never heard before.
Yeah, I guess I--
And it'll be theirs.
It'll be theirs.
And I love--
That's the unique way it is.
And that's what I love about Lana and Lilly is that there is
so much mystery around it that people got to just have
their own interpretation of it.
Yeah, they refused, right?
Yeah.
Yeah, what's interesting, it's like a frustrating thing.
But also, that's a gift to allow--
Yeah, to leave that blank slate
for the people's experience.
--for other people to, what does it mean to you?
Yeah.
MORPHEUS: Your appearance now is what
we call residual self-image.
It is the mental projection of your digital self.
There was an early draft of the script where, you know,
there would be--
the matrix avatar would be a different sex than the kind
of Zion reality of it.
I think they, uh--
They weren't ready for that.
I think the studio wasn't ready for that version.
They are now.
Yeah, maybe.
You know, we've grown so much in 20 years.
It's like much more open-minded world,
I think, at least in my world.
I don't know, maybe.
Maybe not.
[MUSIC PLAYING]