|
"Quotes"
INSIDE
AT
THE
OUTSIDEION 1
Trinity:
Do you know what happened to Neo?
The Oracle:
He is trapped in a place between this world and the machine world. All I
can do
is tell you that your friend needs your help. He needs all our
help.
The Oracle:
Everything that has a beginning has an end. I see the end coming, I see
the darkness spreading. I see death... and you are all that stands in
his way. If you cannot stop him tonight, then
I fear tomorrow will never
come.
Persephone:
I envy you. But such a thing is not meant to last.
[Morpheus,
Trinity, Seraph, the Merovingian and his gang of exiles are in a Mexican
standoff]
Trinity:
Here's another deal. You give me
Neo, or we all die
right here, right now.
the
Merovingian:
Interesting deal... Are you really willing
to die for
this man?
Trinity: Believe
it.
Persephone: If she
has to, she will kill every one of us.
She's in love.
Trinity:
Time's up. What's it gonna be, Merv?
Neo:
What are you trying to tell me? That I can dodge bullets?
Morpheus:
No, Neo. I'm trying to tell you that when you're
ready, you won't have
to.
Mouse:
To deny our own impulses is to deny the very thing that makes us human.
Lieutenant:
I think we can handle one little girl. I sent two units, they're
bringing her down now.
Agent Smith:
No lieutenant, your men are already dead.
Trinity:
You always told me to stay off the freeway.
Morpheus:
Yes, that's true.
Trinity: You
said it was suicide.
Morpheus:
Then let us hope that I was wrong.
Agent Smith:
The best thing about being me...
There are so many "me"s.
Trinity:
Is Neo okay?
Link: Okay?
Shit, Morpheus, you should have seen him.
Morpheus:
Where is he now?
[Link checks a computer]
Link:
He's doin' his Superman thing.
Niobe:
I remember. I remember when you used to dance. I remember you were...
pretty good.
Morpheus:
There are some things in this world, Captain Niobe, that will never
change.
Commander Lock:
Niobe.
Morpheus:
Some things do change.
Morpheus:
And does the Commander have a plan for dealing with two hundred and fifty
*thousand* Sentinels?
Niobe: A
strategy is still being formulated.
Morpheus:
I'm sure it is.
Commander Lock:
I believe I'm going to need every ship we have if we're going to survive
this attack.
Councillor Harmann:
I understand that, Commander.
Commander Lock:
Then why did you allow the Nebuchanezar to leave?
Councillor Harmann:
Because *I* believe our survival depends on more than how many *ships*
we have.
 Neo:
The program Smith has grown beyond your control. Soon he will spread
through this city,
as he spread through the matrix. You cannot stop him.
But I can.
Deus Ex Machina:
[angrily] We don't need you!
We can stop him!
Neo: If
that's true, then I've made a mistake, and you should kill me now.
Deus Ex Machina:
What do you want?
Neo:
Peace.
WIRED
article by Mark Miller, Matrix Revelations, The Wachowski
Brothers FAQ
November 2003
Larry and
Andy Wachowski ~ The movies have transformed the brothers from
small-time carpenters to fabulously wealthy and powerful Hollywood
players. What hasn't changed is their reticence. If anything, the
Wachowski brothers have become more reclusive since the first
Matrix came out in 1999. They haven't given an interview in four
years, and under an unusual deal with Warner Bros., they never have to
talk to the press. Anyone who works on a film with them is made to sign
a nondisclosure agreement. "They just want to stay as incognito as
possible," says their manager, Lawrence Mattis. When I told him I was
writing a story, he chuckled: "Good luck going down the rabbit hole.
There's no map." Maybe not, but the brothers Wachowski have dropped a
few bread crumbs along the way.
Wired followed
the path.
Keanu Reeves
Constantine
Interview: Keanu Reeves
'John Constantine' in "Constantine" |
|
Posted:
Friday February 27th, 2004 |
|
Author:
Wizard #150 via KeanuWeb |
|
One of the things that you're
known for is intense method preparation.
What did you do to
prepare for the role of John Constantine?
I didn't meet with any exorcists. [Laughs] The world that we've created is
kind of a "secular religiousity" is what I call it. We have a kind of
Catholic platform that we're using - heaven and hell, sin, possession,
demons, half-breeds, God, Satan - but I feel like he's a hard-boiled
detective. I was just trying to find the John Constantine within. He's
trapped, trying to be free and deal with the consequences of what's happened
to him and who he is. I was just trying to find mine and his coming
together. I didn't do anything external except look at the architecture of
the comic and how Constantine expresses himself, he looks out of the side of
his eyes a lot, or has his head cocked sideways with a kind of "what are you
doing?" look on his face. And the way he looks at the world, he can see
things that other people can't and this guy is very alone. The "friends" he
does have are dying every time he gets in contact with them. So it's hard
for him to be intimate with anybody. I think he is a lone wolf character.
<snip>
When you say hardboiled, don't
you mean noir?
Well, there is that kind of aspect to it, but I'd say
more kind of Californian noir from a literature standpoint. So there's light
and shadow. There's a couple of shots of Constantine just smoking in a
doorway. There's shots behind him and you see the smoke rising. It's bright
outside, but it's dark in the hall and there's a stairs going up before he
does his first exorcism, so there's that kind of cinematic motif.
<snip>
Is Constantine more vulnerable
than Neo?
I don't know. I thought Neo was a very vulnerable
character. He's full of doubts. He doesn't win. He has to lose his life.
That's not very invulnerable. Constantine, there's an element of the
greatness, the great Constantine is kind of faded. He's in a vulnerable
state and this character Djimon is playing, Midnite, he has a line where
he's like because I'm asking him for help and he's saying I'm neutral. I
don't work on any side of the balance. I have this place, this club where
half-breeds can come and be themselves and "before you were a bartender, you
were one witch doctor against thirty Askar and I was" and he goes, "You were
John Constantine. The John Constantine once. Times change. Balances shift
and I have always been a businessman, John. You know that."
John Constantine [Keanu Reeves]
meets Gabriel [Tilda Swinton]
at the club
Keanu Reeves/CONSTANTINE
INTERVIEW
Author: Paul Fischer
Source:
Film Monthly
<snip>
Paul:
You've been Buddha, you've been neo the messiah, you've been Johnny Mnemonic
the messiah, you've been pitted against Satan (Al Pacino)...this one seems
to have dug deepest into established religious tradition, all kinds of
vocabularies...rituals...
Keanu: And a little Buddha as well.
Paul:
I'm wondering how much of
that for you is make believe, means something to other people, and how
deeply this spiritual conflict . . . resonates with you, if at all.
Keanu: (Pause)... To answer your question - I'll start with
Constantine. The aspect for me - I think of it as a kind of secular
religiosity. The piece itself is using icons and a platform in a kind of
catholic heaven-and-hell, god-and-the-devil, human souls, fighting for
those. But I find that the piece itself - Constantine because of the fact
that he knows - and I was hoping that these concepts could become a platform
that are humanistic, that the journey of this particular hero is hopefully
relatable to - even though they're such fantastic characters and situations
- that it's still a man tripying to figure it out. In terms of the other
roles, I hope ultimately - not only are they interesting - I think that
those kinds of journeys, a hero journey, or Siddartha - these are all
kind of seeking aspects of hopefully - that have something of value in terms
of - to our lives - that we can take with us - and hopefully in the works
that are entertaining and - these kinds of journeys that I think all of us -
especially in western traditions - relate to. I think these motifs of
seekers, messiahs, of anti-heroes, heroes - all of these aspects are
journeys that I think deal with things that we deal with in our day-to-day
in a way, and are entertaining. They offer up - coming from where do you
come from, what are you fighting for . . . and coming into a kind of - I
don't mean it in a facile way but into a kind of life. I think they're
worthwhile, and if we can make them all kinds of stories, story-telling,
that is always couched in this kind of engaging entertaining manner, whether
it is a shadow play, a circle, a storyteller, our literature . . . the
mediums that we communicate these things often times.
<snip>
|
Keanu Reeves
Constantine
|
|
Posted: Sometime
in the Twenty-first century |
|
Author:
Queue
the Reality Rifter |
|
|
His [Constantine]
cynicism balanced with his knowledge of other
worldly things really makes him the essence of Vertigo.
-Paul Levitz, President, Publisher DC Comics
Interview: Keanu Reeves
'Harry'
in, "The Last Time I Committed Suicide"
Source: E! Online
<snip>
[E! asks about
Keanu as Harry in,
The Last Time I Committed Suicide]
And it's not a leading role. That's a departure.
I loved it. When you're not playing the hero in a
piece, you don't have such a linear obligation. You generally get to do
more stuff--stuff being character things. Actors always look to play the
villain, because there's more to do.
How did you get involved with this project?
I knew Stephen. He had written this
script about Neal Cassady. I told
him I dug it. "I dug it, brother"--one of the most fun things about the
piece was calling everybody "brother." I love that fraternity. "Hey,
brother." "Hey, brother, man."--and a couple of months down the road,
Stephen asked if I was interested in playing Harry. I'm not an obvious
choice for Harry. I said, "Shouldn't you get Steve Buscemi?" And he
said, "We'll put a mask on you."
Have you always been a Neal Cassady fan?
Yeah. When I was in my late
teens, I was reading
On the Road,
Dharma Bums and getting
into Ginsberg. I guess I really connected with the spirit of this
character--his restlessness, his search, his joie de vivre.
To me, these writers
represented the epic language they used invoking the Greek and Roman
gods. That Bacchus and Dionysian aspect resonated with me, and I used
that to try and read my life and break out of myself, search for new
sensations--living the moment, staying up late, traveling, experiencing.
But also I've always found it sort of melancholy on the road; there's a
sadness to it.
Searching for something, but not necessarily finding it?
Right.
And this was prior to coming to Hollywood?
Well, yeah. But I'm still doing it. Now, I'm a little
older, so I have to pick my times. Cassady was the guy these writers
focused on and used in their lives and writing for their own explosions.
And Last Time chronicles that?
Yeah, it depicts a real human state--that torment between being
committed to a relationship and then always wanting to have the escape
hatch. And I think Thomas Jane [the actor who plays Cassady] did a
remarkable job of showing those jitters.
There's a moment where he and his girl begin to talk about the future,
and he says, "I've got to get my suit. I can't go to that job interview
looking like this. I've got to get the suit." It's that thing--"I've got
to go out. I've got to go." And he leaves her. It's tragic. I saw the
film with some girls, and it made them so sad, because they've
experienced that with men--being there, trying to commit, that rush of
love. Everything's there and all-consuming, and then--where did it go?
<snip>
Alan Watts said, "The agent behind
every action is itself action. If a mat can be called matting, a cat can be
called catting. We do not actually need to ask who or what "cats," just as
we do not need to ask what is the basic stuff or substance out of which the
world is formed---for there is no way of describing this substance except in
terms of form, of structure, order, and operation. The world is not
formed as if it were inert clay responding to the touch of a potter's
hand; the world is form, or better, formation, for upon examination
every substance turns out to be closely knit pattern. The fixed notion that
every pattern or form must be made of some basic material which is in itself
formless is based on a superficial analogy between natural formation and
manufacture, as if the stars and rocks had been made out of something as a
carpenter makes tables out of wood..."
ILaurence
Fishburne in
'Quicksilver'
Quicksilver
Lightning |
|
Vocals by Roger Daltrey |
|
4.23
(Giorgio Moroder/Dean Pitchford) (Atlantic, 81631-1-E) Produced by
Alan Shacklock and Giorgio Moroder |
|
Who:
Kevin Bacon vs Laurence Fishburne |
|
When:
Dawn
Race – bikes |
|
Where: Streets of San Francisco
First Stanza: Sax
[Hey! Watch it!]
[Whistle]
[Whoa! One side!]
[Crash]
[What are ya doin ridin on the sidewalk!?]
Lately I feel like I keep loosing ground
Everything running in place
Tearing around on this merry-go-round
Same
rat race.
Oh!
My life is so hungry to break from the pack
I’m
goin’ far. Oh! So far!
Lightning! I am lightning!
Changin! I am trading these chains for wings. For wings!
[car
horns - Sax]
Lightning! I am Lightnin!
Changin’ I am trading these chains for wings. For wings!
Lightning! I am Lightnin’!
Changin’ - I am trading these chains for wings. For wings!
[Kevin Bacon crashes on ramp]
[Laurence Fishburne hit. Screeching wheels]
[Voo
Doo!]
US soundtrack 20 Jan
1986
|
 
 |
Morpheus:
Unfortunately, no one can be told what the Matrix is.