The Matrix Resurrections visual effects supervisor Dan Glass explains how the film used VFX to send audiences back into the franchise's virtual world.
It’s difficult to overstate the impact of Lana and Lilly Wachowski’s 1999 sci-fi adventure The Matrix, which raised the bar for technical achievement in filmmaking thanks to its groundbreaking visual effects, editing, and stunt choreography.
Dan Glass: Well, I think for Lana, particularly, it was how you go back into that universe without all the expectations, or how you meet the expectations that everyone has? I think she wisely chose not to go for all the expected things and, rather, to introduce things that were familiar, but also change it up. We just had to keep our heads focused on making a great movie and not on trying to outthink what people were going to expect.
The visual effects for Yahya Abdul-Mateen II’s sentient, fluid-like Morpheus in this film were amazing. What can you tell us about the development of that character’s look and the VFX behind it? Inevitably, yeah. And certainly more so as we started to get further into it. We researched all of the cutting-edge techniques we could, like volumetric capture and virtual production. We looked at those and used aspects of them throughout the movie, but did so sparingly. We were very conscious about using the tools that made sense for the story and narrative, rather than just going, “Oh, this is cool. Let’s make sure we make a big splash with this.” That was never the goal.
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