Matrix Reboot in the Works.... Well Fuck it.. I quit.
- Thread starter fonzerrillii
- Start date
Writer says it's not a reboot or remake....
http://heroichollywood.com/new-matrix-film-will-not-be-a-reboot/
http://heroichollywood.com/new-matrix-film-will-not-be-a-reboot/
So yeah then them niggaz stole my script
THAT is sounds great.
we will ALL be watching this very closely as this develops
oh and by the way...
bgol legal...ASSEMBLE.
The New ‘Matrix’ Film Will Not Be A Reboot Or Remake Says Writer
by ROBY D'OTTAVI on MARCH 17, 2017
Four days ago, The Hollywood Reporter revealed that Warner Bros. and Zak Penn are developing a new incarnation of The Matrix. The internet met this story in exactly the way you would expect it to; horribly. The news was frustrating for fans of the series, all because of a simple word; “reboot.” Since the release of the first Matrix film back in 1999, the series has gone on to become one of the most iconic – and successful – science-fiction franchises. Despite what was previously reported, the new movie will not be a reboot or a remake.
According to the film’s writer, the film has no interest in remaking the iconic original. Penn – who worked on The Avengers – revealed on his official Twitter account:
“All I can say at this point is no one could or should REBOOT the Matrix. People who know Animatrix and the comics understand. Can’t comment yet except to say that the words “reboot” and “remake” were from an article. Let’s stop responding to inaccurate news. If I were going to recast Keanu Reeves, I would cast Keanu Reeves. How about just re-release the matrix? Don’t reboot it, you can’t do better. Do I want to see more stories set in the universe of the matrix? Yes. Because it’s a brilliant idea that generates great stories.”
Like many, I found it quite strange that Warner Bros. were interested in rebooting The Matrix now. Keanu Reeves has had a pretty incredible career resurgence, and remaking one of his most iconic roles would seem rather pointless. From the sound of this, I think we should expect a movie inspired by Star Wars: The Force Awakens or Creed. Penn and Warners have no interested in remaking one of the best blockbusters of all time, but they can create a new story in that universe for a contemporary audience.
Penn also Tweeted a comparison between his idea and what 20th Century Fox are doing with the X-Men franchise:
So, in case you needed any further confirmation; this film is not a reboot.
So, how do you guys feel about this? Are you excited for this upcoming Matrix movie? Do you hope to see Reeves reprise his role as Neo? Who do you think would be an awesome leading actor or actress for this project?
by ROBY D'OTTAVI on MARCH 17, 2017
Four days ago, The Hollywood Reporter revealed that Warner Bros. and Zak Penn are developing a new incarnation of The Matrix. The internet met this story in exactly the way you would expect it to; horribly. The news was frustrating for fans of the series, all because of a simple word; “reboot.” Since the release of the first Matrix film back in 1999, the series has gone on to become one of the most iconic – and successful – science-fiction franchises. Despite what was previously reported, the new movie will not be a reboot or a remake.
According to the film’s writer, the film has no interest in remaking the iconic original. Penn – who worked on The Avengers – revealed on his official Twitter account:
“All I can say at this point is no one could or should REBOOT the Matrix. People who know Animatrix and the comics understand. Can’t comment yet except to say that the words “reboot” and “remake” were from an article. Let’s stop responding to inaccurate news. If I were going to recast Keanu Reeves, I would cast Keanu Reeves. How about just re-release the matrix? Don’t reboot it, you can’t do better. Do I want to see more stories set in the universe of the matrix? Yes. Because it’s a brilliant idea that generates great stories.”
Like many, I found it quite strange that Warner Bros. were interested in rebooting The Matrix now. Keanu Reeves has had a pretty incredible career resurgence, and remaking one of his most iconic roles would seem rather pointless. From the sound of this, I think we should expect a movie inspired by Star Wars: The Force Awakens or Creed. Penn and Warners have no interested in remaking one of the best blockbusters of all time, but they can create a new story in that universe for a contemporary audience.
Penn also Tweeted a comparison between his idea and what 20th Century Fox are doing with the X-Men franchise:
So, in case you needed any further confirmation; this film is not a reboot.
So, how do you guys feel about this? Are you excited for this upcoming Matrix movie? Do you hope to see Reeves reprise his role as Neo? Who do you think would be an awesome leading actor or actress for this project?
it's funny all these reboots and the most obvious 1 they could make or make a sequel to would be "dreamscape".. with all this tech, with all these dream movies, man this 1 would be the obvious pick for reboot or sequel greatness.. have the caption "in the future the most dangerous weapon in the future won't be wmd's it will be our dreams"
show this image and it would be on
I used to watch this movie all the time on HBO. When the guy above turned into the kid's S***eman, Dennis Quaid's character almost shitted on himself. It's hard to imagine that these films from our childhood are old. It almost seems like yesterday.
Great news to me, I've been starving for more Matrix films for years.
I would like for WB to test the waters first with some new animated shorts or maybe even some live action shorts to get people interested again. This could go in many directions, I really think they don't need The Wachowski "Sisters" anymore, their obviously batshit crazy now, time for some new ideas, a fresh take.
I read years ago they planned on making 6 movies total, but who knows. I saw the original 4 times and Reloaded 7 times I think I watched Revolutions only once though. I've grown to appreciate the series over the years, for it was also time of personal and spiritual growth for me. This series really changed my perspective on life itself. Enough of me babbling, bring it on!!!!!!!!
I would like for WB to test the waters first with some new animated shorts or maybe even some live action shorts to get people interested again. This could go in many directions, I really think they don't need The Wachowski "Sisters" anymore, their obviously batshit crazy now, time for some new ideas, a fresh take. I read years ago they planned on making 6 movies total, but who knows. I saw the original 4 times and Reloaded 7 times I think I watched Revolutions only once though. I've grown to appreciate the series over the years, for it was also time of personal and spiritual growth for me. This series really changed my perspective on life itself. Enough of me babbling, bring it on!!!!!!!!
Man I had forgotten all about this one I have to see it again with a more educated mind now, I wanna see what messages I missed as a youth.it's funny all these reboots and the most obvious 1 they could make or make a sequel to would be "dreamscape".. with all this tech, with all these dream movies, man this 1 would be the obvious pick for reboot or sequel greatness.. have the caption "in the future the most dangerous weapon in the future won't be wmd's it will be our dreams"
show this image and it would be on
There was a Matrix-themed short film on youtube a while back..
This nuisance must cease....
Michael B Jordan a s a YOUNG MORPHEUS
Neo’s Stunt Guy Chad Stahelski on How The Matrix Changed Movie Action Forever
By Bilge Ebiri
would never exist without The Matrix. “Back in the day,” he recalls, “fight scenes were secondary to car chases and horse chases and helicopter chases and motorboat chases.” And what fights there were focused on “single-gun battle stuff or Arnold Schwarzenegger pummeling you to death with his hands.”
But The Matrix showed that a fight sequence could be graceful and surprising, as well as tell a story. Even the nascent superhero-movie genre, which would soon become dominant, took a big page out of the Wachowskis’ playbook. Think of Spider-Man learning to use his powers, or Black Widow speedily dispatching a roomful of villains while still tied to a chair, or Wolverine slicing his way through armies of thugs. “Now,” Stahelski says, “action movies want their big sequences designed around the fights. Think of any action movie in the past decade or so that doesn’t have a bitchin’ fight scene. The Matrix said, ‘Look what you can do with your heroes.’” The director and stunt legend recently took a break from a busy schedule finishing John Wick: Chapter 3 — Parabellum to talk with me about how The Matrix changed movies — and his life — forever.
LEARN MORE »
I went in thinking, Okay, I’m gonna have to do a drop and a split; they’ll throw a kick and that’ll be it. They spoke some Chinese, and then they pointed to this guy Chen Hu. They said, “Just do what this guy does; copy him.” I emerged an hour-and-a-half later, dripping in sweat, having gone through every martial-art combination, kick, flip, tumbling pass … It is still, to this day, the longest and most arduous audition I’d ever been to, and I’d been completely unprepared. It was the first time I’d ever met Keanu. We took a couple of photos together and I split.
A month goes by, nothing. Almost two months go by, and I get another phone call. “Hey, would you mind coming back in?” So I go to the same shooting warehouse in Burbank, and it was literally the same audition exactly, move for move, all over again. A week or two later they offered me the gig. They said, “Hey, how would you like to go to Australia and double Keanu?” I was like, “Aw, that’s awesome. But, uh, sorry. No, can’t.” I was still on a TV show.
X-Men Origins: Wolverine. Photo: Courtesy of the studio
Really? So how did you wind up doing the movie?
Keanu had a neck injury, so they pushed all the action until the next year. So, a couple of months go by and I get a call from Barrie Osborne, the producer, going, “Hey, we pushed all the fights. Now can you make it?” And I got on a plane in January to go out to start filming in Australia. I showed up the first day in Sydney to do rehearsals, and it was still, to this time, the toughest process I had been through up to that point in my career — just an amazing amount of repetition and trying to get it right, so that everything’s perfect. Training with Keanu, with the Hong Kong guys, everybody had to memorize everything. They demanded a lot.
And the Wachowskis were meticulous, to say the least. The storyboards were hundreds and hundreds of pages. I still have my copy of them. And I shit you not, they are almost the exact movie. The edit points might be slightly different, but it is so well-boarded and so well-thought-out and conceptually almost identical to what’s on the big screen. It’s creepy. I’m not gonna lie to you, anyone who’s worked for the Wachowskis who’s still mentally functioning is forever and positively influenced by them. Their work ethic puts even the hardest-working people to shame. We all got better on those movies and we all want to be better, and we all want to impress our mentors. I’m 50 years old now and all I can think about is, like, Aw man, I hope they’re gonna like this.
What was your impression of Keanu before you did The Matrix?
He’s very introspective, but at the same time he’s hugely team-oriented. He eats, sleeps, hangs out with the crew. In Australia, you’d be more apt to see him out having dinner in Chinatown in Sydney with the Hong Kong guys and the stunt team. Even on the John Wick movies, to this day, he’s super tight with his stunt team, because they spend so much time with him. He’s the guy that’ll take the camera guy out. He’s very crew-oriented. He loves that world; he loves being part of it.
When you started, did they give you a script?
I didn’t get a script until I landed. I read it and didn’t understand a fucking word of it. I was like, How the fuck are we gonna do this? I have a pretty good creative mind to piece things together, after seeing the rehearsals and the sets, but The Matrix is the only time this ever happened to me, where it literally wasn’t until I saw the movie that I got it. I remember coming in, seeing a very early rough cut of something, and going, “Wow, this is pretty cool” — and I still didn’t get it. Because the effects hadn’t been put in yet. Then I was fortunate enough to get invited to the premiere in Westwood. When I saw that, it was mind-blowing.
John Wick. Photo: Coursty of the studio
It’s the only film I can think of in which both the stunts and the visual effects were genuinely revolutionary.
There are certain things that motivate evolution, or motivate an upward expectation in the industry. I love the Mission: Impossible franchise, I love the Bond franchise, but at no point has there ever been a Bond or a Mission: Impossible that has changed action design. That’s never happened. After The Matrix — just look at the martial-arts genre. It had never breached the mainstream before. You would not see a Stallone movie, or a Schwarzenegger movie, or a Bruce Willis movie where martial arts were prominent. You wouldn’t see a $100 million or even a $50 million movie with martial arts. Our action heroes didn’t do it. Americans worshiped one big power punch.
But after The Matrix, I went from an average stunt guy to one of the biggest choreographers in the business. I started a company that deals specifically with martial-arts choreography and that’s grown into all the John Wick movies and everything. The Matrix literally changed the industry. The influx of martial-arts choreographers and fight coordinators now make more, and are more prevalent and powerful in the industry, than stunt coordinators. The Matrix revolutionized that. Today, action movies want their big sequences designed around the fights. Think of any action movie in the past decade or so that doesn’t have a bitchin’ fight scene. The Matrix said, “Look what you can do with your heroes.” Back in the day, fight scenes were secondary to car chases and horse chases and helicopter chases and motorboat chases. Now, what does every great Marvel movie have? Whether it’s flying or in spaceships or in boats or in airplanes and so forth, they want action design centered around fight scenes.
Was there a particular moment during the production when you thought, Okay, this thing is going to be big?
I remember my first time on camera was in the government lobby sequence, when Carrie-Anne does her wall-up. We had rehearsed it a million times. We had squibs that had to go off. It was all practical effects, so you couldn’t have a cell phone within 300 feet of the stage, because at the time, the frequency of cell phones could set off the electronic squibs. They had over a thousand squibs, and they’re blowing off, and we’re seeing them and just going, “Oh my God.” I had to do a thing where I cartwheel over to an M16 rifle, pick it up with one hand, and then Keanu shoots and goes into the fight or whatever. I remember the setup was a day turnover, so you get one take, and it takes a day to reset, and then you do the second take. I had barely met anybody on set at this point. I’m in the getup, and I’m getting ready to go, and I remember producer Joel Silver walking over to me — I had never met the man before in my life — looking me right in the eye and saying, “Don’t fuck this up.” Basically, don’t miss. And he gave me that little stare. He’s a very intense person. And I was like, Okay. Don’t miss gun. They said there’d be a lot of debris, so I just practiced doing the flip with my eyes closed. And I swear to you, as soon as they yelled action, the first squib went off, and I couldn’t see shit. I just threw myself in there and magically found the gun and grabbed it. I was only 25 and I was like, Don’t miss gun. Don’t miss gun. Don’t miss gun. But after that scene finished, I remember calling everybody back in the States and just going, “Yeah, this is gonna be something different. This is real stuff.”
By Bilge Ebiri
would never exist without The Matrix. “Back in the day,” he recalls, “fight scenes were secondary to car chases and horse chases and helicopter chases and motorboat chases.” And what fights there were focused on “single-gun battle stuff or Arnold Schwarzenegger pummeling you to death with his hands.”
But The Matrix showed that a fight sequence could be graceful and surprising, as well as tell a story. Even the nascent superhero-movie genre, which would soon become dominant, took a big page out of the Wachowskis’ playbook. Think of Spider-Man learning to use his powers, or Black Widow speedily dispatching a roomful of villains while still tied to a chair, or Wolverine slicing his way through armies of thugs. “Now,” Stahelski says, “action movies want their big sequences designed around the fights. Think of any action movie in the past decade or so that doesn’t have a bitchin’ fight scene. The Matrix said, ‘Look what you can do with your heroes.’” The director and stunt legend recently took a break from a busy schedule finishing John Wick: Chapter 3 — Parabellum to talk with me about how The Matrix changed movies — and his life — forever.
LEARN MORE »
I went in thinking, Okay, I’m gonna have to do a drop and a split; they’ll throw a kick and that’ll be it. They spoke some Chinese, and then they pointed to this guy Chen Hu. They said, “Just do what this guy does; copy him.” I emerged an hour-and-a-half later, dripping in sweat, having gone through every martial-art combination, kick, flip, tumbling pass … It is still, to this day, the longest and most arduous audition I’d ever been to, and I’d been completely unprepared. It was the first time I’d ever met Keanu. We took a couple of photos together and I split.
A month goes by, nothing. Almost two months go by, and I get another phone call. “Hey, would you mind coming back in?” So I go to the same shooting warehouse in Burbank, and it was literally the same audition exactly, move for move, all over again. A week or two later they offered me the gig. They said, “Hey, how would you like to go to Australia and double Keanu?” I was like, “Aw, that’s awesome. But, uh, sorry. No, can’t.” I was still on a TV show.
X-Men Origins: Wolverine. Photo: Courtesy of the studio
Really? So how did you wind up doing the movie?
Keanu had a neck injury, so they pushed all the action until the next year. So, a couple of months go by and I get a call from Barrie Osborne, the producer, going, “Hey, we pushed all the fights. Now can you make it?” And I got on a plane in January to go out to start filming in Australia. I showed up the first day in Sydney to do rehearsals, and it was still, to this time, the toughest process I had been through up to that point in my career — just an amazing amount of repetition and trying to get it right, so that everything’s perfect. Training with Keanu, with the Hong Kong guys, everybody had to memorize everything. They demanded a lot.
And the Wachowskis were meticulous, to say the least. The storyboards were hundreds and hundreds of pages. I still have my copy of them. And I shit you not, they are almost the exact movie. The edit points might be slightly different, but it is so well-boarded and so well-thought-out and conceptually almost identical to what’s on the big screen. It’s creepy. I’m not gonna lie to you, anyone who’s worked for the Wachowskis who’s still mentally functioning is forever and positively influenced by them. Their work ethic puts even the hardest-working people to shame. We all got better on those movies and we all want to be better, and we all want to impress our mentors. I’m 50 years old now and all I can think about is, like, Aw man, I hope they’re gonna like this.
What was your impression of Keanu before you did The Matrix?
He’s very introspective, but at the same time he’s hugely team-oriented. He eats, sleeps, hangs out with the crew. In Australia, you’d be more apt to see him out having dinner in Chinatown in Sydney with the Hong Kong guys and the stunt team. Even on the John Wick movies, to this day, he’s super tight with his stunt team, because they spend so much time with him. He’s the guy that’ll take the camera guy out. He’s very crew-oriented. He loves that world; he loves being part of it.
When you started, did they give you a script?
I didn’t get a script until I landed. I read it and didn’t understand a fucking word of it. I was like, How the fuck are we gonna do this? I have a pretty good creative mind to piece things together, after seeing the rehearsals and the sets, but The Matrix is the only time this ever happened to me, where it literally wasn’t until I saw the movie that I got it. I remember coming in, seeing a very early rough cut of something, and going, “Wow, this is pretty cool” — and I still didn’t get it. Because the effects hadn’t been put in yet. Then I was fortunate enough to get invited to the premiere in Westwood. When I saw that, it was mind-blowing.
John Wick. Photo: Coursty of the studio
It’s the only film I can think of in which both the stunts and the visual effects were genuinely revolutionary.
There are certain things that motivate evolution, or motivate an upward expectation in the industry. I love the Mission: Impossible franchise, I love the Bond franchise, but at no point has there ever been a Bond or a Mission: Impossible that has changed action design. That’s never happened. After The Matrix — just look at the martial-arts genre. It had never breached the mainstream before. You would not see a Stallone movie, or a Schwarzenegger movie, or a Bruce Willis movie where martial arts were prominent. You wouldn’t see a $100 million or even a $50 million movie with martial arts. Our action heroes didn’t do it. Americans worshiped one big power punch.
But after The Matrix, I went from an average stunt guy to one of the biggest choreographers in the business. I started a company that deals specifically with martial-arts choreography and that’s grown into all the John Wick movies and everything. The Matrix literally changed the industry. The influx of martial-arts choreographers and fight coordinators now make more, and are more prevalent and powerful in the industry, than stunt coordinators. The Matrix revolutionized that. Today, action movies want their big sequences designed around the fights. Think of any action movie in the past decade or so that doesn’t have a bitchin’ fight scene. The Matrix said, “Look what you can do with your heroes.” Back in the day, fight scenes were secondary to car chases and horse chases and helicopter chases and motorboat chases. Now, what does every great Marvel movie have? Whether it’s flying or in spaceships or in boats or in airplanes and so forth, they want action design centered around fight scenes.
Was there a particular moment during the production when you thought, Okay, this thing is going to be big?
I remember my first time on camera was in the government lobby sequence, when Carrie-Anne does her wall-up. We had rehearsed it a million times. We had squibs that had to go off. It was all practical effects, so you couldn’t have a cell phone within 300 feet of the stage, because at the time, the frequency of cell phones could set off the electronic squibs. They had over a thousand squibs, and they’re blowing off, and we’re seeing them and just going, “Oh my God.” I had to do a thing where I cartwheel over to an M16 rifle, pick it up with one hand, and then Keanu shoots and goes into the fight or whatever. I remember the setup was a day turnover, so you get one take, and it takes a day to reset, and then you do the second take. I had barely met anybody on set at this point. I’m in the getup, and I’m getting ready to go, and I remember producer Joel Silver walking over to me — I had never met the man before in my life — looking me right in the eye and saying, “Don’t fuck this up.” Basically, don’t miss. And he gave me that little stare. He’s a very intense person. And I was like, Okay. Don’t miss gun. They said there’d be a lot of debris, so I just practiced doing the flip with my eyes closed. And I swear to you, as soon as they yelled action, the first squib went off, and I couldn’t see shit. I just threw myself in there and magically found the gun and grabbed it. I was only 25 and I was like, Don’t miss gun. Don’t miss gun. Don’t miss gun. But after that scene finished, I remember calling everybody back in the States and just going, “Yeah, this is gonna be something different. This is real stuff.”
Not when you are a burnt out coke head.And for only 30 million
For a franchise like this that will continue to make money for decades and cam continually be repackaged that seems like a low number to sell for.
Damn two years ago already, I remember when this story dropped the 'nets were ablaze. I wonder how the new films would work since the original was built around cellphones, today's smartphones or go retro?
Gabrielle Union Details Her ‘Matrix’ Audition and Why It Backfired Because of Janet Jackson
Channeling Janet Jackson for an audition is not a bad idea, at least not until the real Janet Jackson shows up.
www.indiewire.com
The movie always had a future / retro vibe to it... at least in my opinion.Damn two years ago already, I remember when this story dropped the 'nets were ablaze. I wonder how the new films would work since the original was built around cellphones, today's smartphones or go retro?
i believe this was thereason paramount passed on a nightmare on elm street. because of the similarities in the premise.
Well the time is near, can't wait, this is the only film I really care about now, may even go to the theatre to see this. Surprised to hear Janet Jackson and Gabrielle Union auditioned for the first one man this must've been the talk of Hollywood back then. I wonder what role were they auditioning for?
Surprised to hear Janet Jackson and Gabrielle Union auditioned for the first one man this must've been the talk of Hollywood back then. I wonder what role were they auditioning for?
My guess... Niobe? But I don't think she was in the first one.Well the time is near, can't wait, this is the only film I really care about now, may even go to the theatre to see this.
TIME TO RETURN TO FICTION BOOK READING. AND MAKE THAT GO VIRAL.
I WAS DONE WITH REHASHED THEMES SINCE THE ADDAMS FAMILY MOVIE.
I WAS DONE WITH REHASHED THEMES SINCE THE ADDAMS FAMILY MOVIE.
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