Zion gets
its power from the magma and lava that form the earth's core, and
this formed the basis of Pope's approach to
the sequences in the city's temple. "The cultural center of
the city is a huge temple within a giant cave, which was filmed in
a former aircraft hangar at Alameda Air Base in California. The sources
for the temple in Zion were the lava and candles scattered all around.
Bobby Finley was our gaffer in the States, and he used the guts of
space lights to construct softboxes that pushed light over the huge
set. The 15-by-18-foot boxes each had straw gels on them, and the
lights were dimmed down to about 70 percent; they were scattered
around so everyone had a constant backlight. Bobby did a great job
of hiding the lights behind the stalactites and stalagmites within
the set. It was quite a feat to make an entire temple look as though
it's lit by candles. When we did close-ups, I sometimes used flicker-boxes,
but those occasionally look fake to me, so I usually opted to create
the flicker with a series of smaller tungsten lamps that were operated
manually from a dimmer board."
Access to Zion is gained
through an elaborate system of dark, dank sewer tunnels, the sets
for which
were constructed at Fox in Sydney. "There
is a sequence in which a hovership that's being chased by Sentinels
crashes," Pope relates. "Neo, Trinity, Morpheus and Link
[Harold Perrineau, Jr.] are forced to flee on foot through the tunnels,
which are dark, cold and misty. We took the sewers to a different level
of darkness and cooler colors to constantly reinforce the coldness." To
simulate the light from another ship that comes to the rescue of the
stranded group, Garside constructed a 20'x20' rig consisting of Par
cans (to provide a bright ambience) and Lightning Strikes units (which
suggested the ship's electromagnetic propulsion system). The rig was
mounted on a system of pulleys and concealed by a black hanging underneath.
At the appropriate moment, the rig was pulled out from the black, giving
the effect of an arriving ship. "Reg and I relied enormously on
Australian rigging gaffers Iain Mathieson, Simon Williams, Matt Clyde
and, later, Matt Buchan," says Pope. "Because this show
was prepped as we went along, the rigging crews were extremely important.
While Reg and I would meet them every day to plan the lighting in
advance,
we were always just a few sets ahead, which is a very nervous way
of working. I must also mention Ray Brown, our key grip in Sydney,
who
also worked on The Matrix. We could not have made the movie without
this man. He became the de facto unit production manager, producer,
statesman, planner, conscience and mentor to the entire crew. In
the U.S., I depended upon the three people I've worked with forever:
Bob
Finley, key grip Tony Mazzucchi and first camera assistant Greg Luntzel."
Freeway Free-for-All
The action centerpiece of Reloaded is a 14-minute chase spectacular,
the climax of which takes place on a six-lane freeway as Trinity,
Morpheus and the Keymaker are pursued by Agents and new villains
known as The Twins (Neil and Adrian Rayment). "The freeway
was a huge exterior set that Owen Paterson built on the runway
at Alameda Naval Base," Pope recalls. "It was 16 feet
high and six lanes across, with concrete walls and an overpass.
It was about one-and-a-half miles long and had a huge curve in
it." Paterson recalls, "Building the entire freeway enabled
us to completely control the view of the audience. We built 16-foot-high
plywood walls on each side that were rendered to look like concrete.
That line of walls gave the set a claustrophobic, semi-subterranean
kind of vibe. Because the freeway is in the Matrix, we also stayed
away from showing any plants; there are no trees or grass, just
concrete.
"We were shooting that sequence for a couple of months," says
Pope, "and on any given day we averaged fewer than 10 shots,
every one of which was immense - even the close-ups. In the Wachowskis'
world, there's no such thing as a simple close-up. It may involve
your main actress driving solo on a motorbike down a freeway against
traffic, or hundreds of cars in the background on the other side
of the freeway. Every shot we did pushed the limit of what we can
do."
Shots of the actors driving
were achieved with some unique car-rigging equipment. "Alameda was definitely a grip's show," declares
Pope. "On the road we had this wonderful rig called a Mic
Rig, which is essentially a panel truck stripped down to the frame.
The
hero picture car is then mounted onto the van's frame, enabling
you to do moves with an actor that you simply cannot achieve with
an
insert car. The two drivers of the Mic Rig, protected only by a
windshield, can drive totally helter-skelter, do 180- or 360-degree
spins, go
up on two wheels, all that stuff. They also have little oil jets
that they can shoot out onto the wheels on command so they can
spin all over the place. The Mic Rig became our vehicle of choice;
we
could fly in between cars, or zip around as though Trinity and
Morpheus or the villains were actually driving these vehicles."
The
logistical demands of the freeway sequence, coupled with the
Wachowskis' desire to shoot the action entirely in continuity,
abrogated the use of artificial lighting. "I wasn't able to
control the direction of the light or the time of day at which
we shot," Pope
notes. "We showed up each morning and simply picked up from
where we'd left off the day before. In San Francisco, the weather
is foggy in the morning, it clears up in the afternoon, and then
the sun drops rapidly behind the hills. So in the middle of any
given scene, I might have been shooting a close-up at high noon
and the
wide shot at sunset, and I needed them to match." By digitally
grading the sequence, Pope was able to resolve matching problems
and refine the Matrix "look." He explains, "It's
a very complicated scene on many levels, with every shot a visual-effects
construct of some sort. There's the virtual city that is visible
beyond the walls of the freeway, as well as [visual-effects supervisor]
John Gaeta's destruction effects with the cars, trucks and so on.
Also, in the Matrix the sun is created by a computer; it's sickly
and not quite convincing, so I needed to find a way to nullify
the
sun's natural warmth. The only way I could do all of this and still
stay on schedule was to scan the whole sequence." (The rest
of Reloaded was color-timed photochemically at Technicolor in Los
Angeles.) Pope supervised the digital
grading at Animal Logic, a facility based in Sydney, Australia.
To achieve the desired look,
he and
Lynn Cartwright,
visual-effects supervisor at Animal Logic, altered the skies as
well as the quality of the sunlight striking the freeway and actors. "I
wanted a sky that looked polarized, going from deep blue on one
end to white on the other, except that I wanted it in 'Matrix green.'
We then softened the sunlight striking the actors and the road,
so
it looks like a thinly overcast day with just a little bit of sun
and warmth peeking through. That was perfect for the Matrix; I
couldn't have asked for anything better." Pope points out
that the support of the visual-effects department was integral
to the success of this
sequence. "Visual-effects supervisors Dan Glass and John 'DJ'
Des Jardin, as well as visual-effects producer Di Giorgiutti, were
always present, dedicated and clever," Pope reports.
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