Everything that has a beginning has an end.
At the stunning conclusion of The Matrix Reloaded, Neo (KEANU REEVES) took
another step forward in the quest for truth that began with his journey into the real world at
the outset of The Matrix – but that transformation has left him drained of his power, adrift
in a no man’s land between the Matrix and the Machine World. While Trinity (CARRIEANNE
MOSS) holds vigil over Neo’s comatose body, Morpheus (LAURENCE
FISHBURNE) grapples with the revelation that the One in which he has invested a life’s
worth of faith is merely another system of control invented by the architects of the Matrix.
In The Matrix Revolutions, the final explosive chapter in the Matrix trilogy, the epic
war between man and machine reaches a thundering crescendo: the Zion military, aided by
courageous civilian volunteers like Zee (NONA GAYE) and the Kid (CLAYTON
WATSON), desperately battles to hold back the Sentinel invasion as the Machine army
bores into their stronghold. Facing total annihilation, the citizens of the last bastion of
humanity fight not only for their own lives, but for the future of mankind itself.
But an unknown element poisons the ranks from within: the rogue program Smith
(HUGO WEAVING) has cunningly hijacked Bane (IAN BLISS), a member of the
hovercraft fleet. Growing more powerful with each passing second, Smith is beyond even
the control of the Machines and now threatens to destroy their empire along with the real
world and the Matrix. The Oracle (MARY ALICE) offers Neo her final words of
guidance, which he accepts with the knowledge that she is a program and her words could
be just another layer of falsehood in the grand scheme of the Matrix.
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With the aid of Niobe (JADA PINKETT SMITH), Neo and Trinity choose to travel
farther than any human has ever dared to go – a treacherous journey above ground, across
the scorched surface of the earth and into the heart of the menacing Machine City. In this
vast mechanized metropolis, Neo comes face to face with the ultimate power in the
Machine world – the Deus Ex Machina – and strikes a bargain that is the only hope for a
dying world.
The war will end tonight, with Neo’s destiny and the fate of two civilizations
inexorably tied to the outcome of his cataclysmic confrontation with Smith.
Warner Bros. Pictures presents, in association with Village Roadshow Pictures and
NPV Entertainment, a Silver Pictures production, The Matrix Revolutions, starring
KEANU REEVES, LAURENCE FISHBURNE and CARRIE-ANNE MOSS. The film
also stars HUGO WEAVING and JADA PINKETT SMITH.
The Matrix Revolutions is written and directed by THE WACHOWSKI
BROTHERS and produced by JOEL SILVER. The executive producers are ANDY
WACHOWSKI, LARRY WACHOWSKI, GRANT HILL, ANDREW MASON and
BRUCE BERMAN. The director of photography is BILL POPE, A.S.C.; the production
designer is OWEN PATERSON; the editor is ZACH STAENBERG, A.C.E.; the music is
composed by DON DAVIS; the visual effects supervisor is JOHN GAETA; and the
costume designer is KYM BARRETT.
The Matrix Revolutions will be released worldwide by Warner Bros. Pictures, a
Warner Bros. Entertainment Company, and in select territories by Village Roadshow
Pictures.
This film has been rated “R” by the MPAA for “sci-fi violence and brief sexual
content.”
thematrix.com / AOL Keyword: Matrix Revolutions
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THE MATRIX REVOLUTIONS: THE FINAL CHAPTER
In 1999, the Wachowski Brothers and producer Joel Silver unveiled The Matrix, a
visionary fusion of brutally elegant action and densely-layered storytelling. The
filmmakers not only electrified audiences with audacious visual innovations, they created a
provocative action film that ponders the essence of reality and identity, illuminating the
choices we must make and the strengths and weaknesses that compel us to make them. The
Wachowskis envisioned the epic story they unleashed in The Matrix as a trilogy, and
approached the production of the second and third installments as a single film that would
be presented in two parts.
With the May 2003 release of the second chapter, The Matrix Reloaded, the writerdirectors
tunneled deeper into the sprawling saga’s mythology and presented revolutionary
new visual effects technology that redefined what is cinematically possible. Driven by
furiously breathtaking action sequences, Reloaded elaborated on the first film’s themes of
philosophical and technical alienation in the continuation of Neo’s treacherous journey
toward greater truth and understanding of his pivotal role in the fate of mankind
To date, The Matrix Reloaded has earned over $735 million in worldwide box
office, making it the highest-grossing film of 2003 and the highest-grossing R-rated film in
history, both domestically and internationally. Additionally, Reloaded scored the record
for the largest single week ever with $158.2 million and reached $150 million in a recordbreaking
six days domestically; internationally, it is the 10th highest grossing film of alltime,
and is the first film in history to gross more than $100 million in a single weekend.
The staggering box office of the first two installments of the trilogy and the vast
amount of thought devoted to the examination of the Wachowskis’ work is evidence of the
extent to which the filmmakers have hacked into the collective consciousness with their
provocative and challenging filmmaking. “They’ve created an epic story, told it in a
visionary way that revolutionized entertainment, and created a thinking person’s action
trilogy,” observes Matrix producer Joel Silver. “You can enjoy the films on a purely
visceral level, and if you want to go deeper, there are some very profound ideas to
consider.”
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The Wachowskis believe that at the heart of the Matrix films is the hope of
integration – the synthesis of our finite knowledge of what is with our infinite beliefs of
what might be. “These films explore the search for truth, the cost of knowledge, the quest
for understanding our lives and the sacrifices we choose to make,” Keanu Reeves suggests.
“Evolution is another important theme of the trilogy. In the first film, it’s Machines versus
humans, who are trying to free themselves from the world of the Matrix where the
Machines have enslaved them. In Reloaded and Revolutions, you see the perspective of
Machine-created programs trying to hide in the Matrix when they face deletion in the
Machine world, while the humans face extinction by the Machines that are trying to destroy
Zion. Ultimately, the Machines’ survival is threatened as well, and the humans, programs
and Machines have to find a way to cooperate to ensure their survival.”
The visual and intellectual concepts that were introduced in The Matrix and further
explored in Reloaded culminate in a tour de force of epic action and resolution in the
trilogy’s final explosive chapter, The Matrix Revolutions. “With Revolutions, the Brothers
deliver an incredibly powerful payoff to their story,” Silver says. “They’ve resolved Neo’s
journey in a way that is emotional, intelligent, humorous and fun and gives you a true sense
of what this concept was all about. It’s very satisfying, yet people will still be driven to
analyze and discuss it.”
At the cliffhanger conclusion of The Matrix Reloaded, Neo lies in a comatose state
aboard the rebel hovercraft Mjolnir after using his powers to terminate several attacking
Sentinels – an inexplicable feat given that he was not jacked into the Matrix during the
deadly confrontation. In Revolutions, Neo learns the truth behind the source of his powers
and why he is able to use them in the real world. Reeves sees Neo as “a lightning rod, a
searcher and a witness. In acting out his quest, Neo makes himself available as a conduit
for a very powerful energy force, which translates into these extraordinary powers.”
While Neo’s powers have grown exponentially, so too have those of the rapacious
Agent Smith – to the point that he has become a bigger threat to the Machine world that
created him than the citizens of Zion who are fighting for survival against the Machine
army. Neo realizes that in order to save both Zion and the Machine world from total
destruction by Smith, he will have to go farther than he ever imagined. “It’s the last
unknown, it’s the last unanswered question in his journey,” Reeves says. “He has to see his
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quest to the end, where it leads to, whatever it takes. That’s why I love Neo. He wants
peace and he’s willing to do anything for it.”
Laurence Fishburne recognizes a sense of commitment shared by both actor and
character. “Keanu is unlike anyone I have ever met; he’s a deeply sensitive, keenly
intelligent guy,” observes Fishburne. “He completely dedicated his life to Neo during the
making of these films, and it’s been a real joy to walk through this whole amazing
experience with him.”
As Neo follows his path to its ultimate conclusion, a disillusioned Morpheus
continues to believe that his former student will find a way to end the war, despite the
Architect’s startling revelation in Reloaded that the Oracle’s Prophecy may simply be
another system of the Machines’ control. “In Revolutions, even more of Morpheus’
humanity comes to the surface,” Fishburne reveals. “Morpheus is still the guy that you will
follow because you believe in him and feel safe with him, but he’s not the same formidable
figure we met in the first film who seems to know everything. His belief system has been
shaken, and in his struggle to come to terms, he becomes more human.”
An equally fierce believer in Neo, Trinity is inspired by their profound connection
to follow her own path. “One of the things that I love so much about Trinity is just her
complete and total commitment to the love that she has for Neo and her belief in him, and
how their love strengthens her and softens her at the same time,” Carrie-Anne Moss says.
“The Wachowskis have done an incredible job of crafting Neo and Trinity’s
relationship,” Silver adds. “Their connection is such a strong part of the trilogy, especially
in Revolutions – it connects the characters, it connects the story and the films. The love
they have for each other is what it’s all about.”
Given a second chance at life at the end of Reloaded, Trinity puts her fate into
Neo’s hands once again when she chooses to accompany him to the Machine City.
“Trinity is very proactive, as we know,” Moss says, laughing. “She isn’t going to be told
that she can’t do something, and she’s not going to sit around and wait to see what happens
to Neo. So she finds a way to help him.”
Another crucial member of the Zion resistance also chooses to help Neo – but
Niobe’s support is the hard-won result of an inner journey that begins in Reloaded and is
depicted in greater detail in the video game Enter the Matrix. “When we meet Niobe in
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Reloaded, she doesn’t have faith; she doesn’t believe in anything but herself,” Jada Pinkett
Smith says. “Her ego is a beast and she’s extremely arrogant. Over the course of the story,
her faith grows in Neo and in Morpheus, and she begins to surrender to the concept that
there is something beyond intellect, beyond logic, beyond her.”
Though Niobe does not believe in the Oracle’s Prophecy, she offers her ship to Neo
when he makes his decision to travel to the Machine City in search of peace. As Pinkett
Smith sees it, “Niobe respects Neo and stands by him because of the things he has done and
the sacrifices he has chosen to make. She doesn’t believe that he’s the One, but she
believes that if anyone can do it, he can.”
Thrust together under life-and-death circumstances, Niobe and Morpheus find that
their deep yet distant connection still rings true. “Niobe was attracted to Commander Lock
because he’s smart, but I think her heart is truly with Morpheus,” Pinkett Smith muses.
Adds Fishburne: “The way the Brothers wrote the third act of Revolutions, where Neo and
Trinity are ascending while Morpheus and Niobe are descending and the world is coming
to a catastrophic end, is truly beautiful and romantic.”
Meanwhile, Agent Smith’s appetite for destruction grows more ravenous as he
becomes increasingly more powerful. “In The Matrix, Smith starts off as a very rigid
character with a very strong, defined mission that he has to accomplish,” Hugo Weaving
describes. “During that journey, he starts to feel human feelings. He starts to feel anger
and jealousy. He starts to smell things and he starts to have a hint of what it’s like to have
humanity inside him. And he hates that. He sees it as a weakness. In Reloaded, he’s
accepted these powerful feelings more and more and he starts to relish them. His ego has
expanded and he’s quite literally been liberated. In Revolutions, his ego runs rampant – he
has evolved from wanting to be free of the Matrix to trying to take over the world.”
Underneath Smith’s cruel depravity, notes Weaving, “he’s a very dark character but
I’ve always thought he was funny. There were humorous elements to Smith in the first
Matrix which seemed to come straight out of Larry and Andy’s character and I loved that
they expanded those elements in Reloaded and Revolutions. I enjoyed the experience of
playing Smith immensely.”
Because Smith’s ego and power threaten to overwhelm both the real and Machine
worlds, the Oracle chooses to help Neo – a decision that costs her dearly. As it is explained
7
in the video game Enter the Matrix, the Oracle’s appearance (or “shell”) has been
terminated by the vengeful Merovingian, so she takes a new form in Revolutions.
In developing the scripts for Reloaded and Revolutions, the Wachowskis discussed
the idea of changing the Oracle’s physical appearance, but decided instead to have actress
Gloria Foster reprise her role from The Matrix in the second and third chapters of the
trilogy. When Foster passed away after completing her scenes for Reloaded, the Brothers
returned to their original idea for the path of the Oracle. “Gloria was a remarkably
talented, charismatic woman,” Silver recalls. “We are extremely proud that she will always
be remembered for delivering two of her finest performances in The Matrix and The Matrix
Reloaded. Fate forced the Wachowskis to alter the path of the Oracle to address Gloria’s
passing, but they were able to deepen the character’s story as a result and I think it’s very
effective.”
“It was wonderful to see the Brothers find a way to honor Gloria’s death and
continue growing the story in their changing of the script,” Moss agrees.
The filmmakers cast respected stage and screen actress Mary Alice (Oz) to play the
Oracle in her new form. “I’m not a big science fiction fan, but there is something in the
Matrix films that I find very spiritual,” says Alice, who starred opposite Foster in the
Broadway play Having Our Say in 1995, playing sisters who live to be over 100. “My life
has changed from being in it.”
“Mary Alice came in and did an amazing job of presenting a living, breathing
Oracle,” says Fishburne, who portrayed Alice’s son in a play they performed in together in
New York when he was ten years old.
Zee, a citizen of Zion who plays a crucial role in the defense of the city against the
Machines’ relentless siege, has even more at stake than most: she lost both of her brothers,
Tank and Dozer (key members of Morpheus’ crew in The Matrix), to the war with the
Machines, and her boyfriend Link has put his life on the line to serve as Morpheus’
operator. “Zee is strong and determined to accomplish what needs to be done without
letting fear get in her way,” says Nona Gaye. “She feels very protective of Zion, and Link
is all she’s got left. She wants to make sure that they can have a life together.”
Completing the main cast of The Matrix Revolutions are Lambert Wilson as the
Merovingian; Monica Bellucci as Persephone; Harold Perrineau as Link; Harry Lennix as
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Commander Lock; Collin Chou as Seraph; Nathaniel Lees as Mifune, leader of the APU
Corps; Clayton Watson as the Kid; Tanveer Atwal as Sati, a girl Neo encounters at the
Mobil Avenue Train Station; Bernard White as Sati’s father, Rama; Bruce Spence as the
Trainman, who controls all travel between the Matrix and the Machine world; Ian Bliss as
Bane, the treacherous hovercraft crewmember inhabited by Agent Smith; David Roberts as
Roland, captain of the Mjolnir; Anthony Wong as Ghost, Niobe’s first mate; and Anthony
Zerbe as Councillor Hamman.
Reflecting back on the journey he began in the winter of 1997, when he started
training for the role of Neo in The Matrix, Reeves appreciates the challenges posed by the
Wachowskis and their ambitious story. “I love working with Larry and Andrew, I respect
the opportunities they gave me and I respect the ideas and the imagination in this beautiful
story,” Reeves says. “Everyone involved with these films was asked to do their very best,
and it was challenging, but that’s what makes it really good – rolling up your sleeves and
trying to realize this dream. How can you not be excited by the opportunity to hopefully do
the best work that you might ever get the chance to do in your creative life?”
“For me, the experience of making these films has been transforming,” says Moss.
“I’ve learned so much about myself, about life and work. It’s wonderful to be so
committed to a project, and to be in a trilogy of films about conviction, having faith and
fighting for what you believe in.”
Jada Pinkett Smith was similarly inspired by her Matrix experience. “It’s been fun
because I got to play my alter ego to the hilt,” she says with a laugh, “and I’ve really
learned a lot about myself through Niobe. Working on these films has really helped me
strengthen my faith. I’ve done a lot of research and reading in my own internal journey of
trying to deepen my roots as far as faith is concerned, and these movies were a big part of
that process.”
When he considers his key role in the trilogy as Morpheus, the man whose
unwavering faith provides the catalyst to Neo’s journey as the One, “I don’t think it’s an
accident that I’m a part of this; I think it was perhaps a part of my destiny,” Fishburne says
thoughtfully. “I love Morpheus. He’s probably the character I will be most remembered
for. And everyone that I spent time with making these films will be part of who I am for
the rest of my life.”
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For Silver, who produced the blockbuster Die Hard and Lethal Weapon series, in
addition to an impressive array of hit films, the Matrix trilogy “closes a chapter in
filmmaking for me. It’s been an incredible adventure. The monumental undertaking of
making these pictures was as full of drama, thrills and excitement as the movies
themselves. Like everyone involved, I devoted a big part of my life to this incredible saga,
and I’ll miss it.”
REVOLUTIONARY TRAINING, COMBAT & STUNTS
After taking the unprecedented approach of training for and performing their own
sophisticated Kung Fu fighting and wire work stunts for The Matrix, the principal cast –
Keanu Reeves, Carrie-Anne Moss, Laurence Fishburne and Hugo Weaving – reunited with
the trilogy’s fight choreographer, master artist/wire work specialist Yuen Wo Ping, and his
Hong Kong Kung Fu team led by Dion Lam, for five months of training and rehearsals
prior to the production of The Matrix Reloaded and The Matrix Revolutions. Daily training
sessions were held in a Santa Monica airplane hangar that accommodated the film’s large
motion capture stage in addition to a Matrix stunt team nearly triple its original size.
Having endured grueling training for four months for the first film, “the cast arrived
in much better shape, much fitter, with a far greater understanding of the demands we
would place on them,” Wo Ping says.
“Training for these two films was probably three times harder than preparing for
the first,” admits Reeves, who devoted at least seven hours a day to Kung Fu. “Neo’s
Kung Fu elements and wire work are much more sophisticated.”
While training for and filming The Matrix, Reeves was recovering from neck
surgery, which restricted his movements, so Wo Ping accommodated his injury by
choreographing routines that featured more hand-to-hand combat than kicking. This time
around, Reeves had no such limitations. “The more I could do, the more they pushed me,”
recalls the dedicated actor. “So when I could do one thing well, that was the day they’d ask
me if I could do two things. Then when we were shooting, the Brothers would ask me if I
could do seven things! It was all very good fun, but very hard work as well. And painful –
ice is your friend.” (During training, Reeves was known to sit in a bathtub full of ice.)
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“There is no one who is harder on themselves than Keanu,” Moss observes. “There
were times when I would cover my ears and eyes, worried that he was pushing himself too
far, but I completely commend and applaud him for going there. He really took his
fighting and physicality to a level that I don’t think any American actor has ever done.”
“Keanu is exceptional,” compliments Wo Ping. “He is a super perfectionist, always
dissatisfied with his own performance, even when I think it’s very good! I tried my best to
match the level that he was looking for.”
Reeves feels that such ambitious training was the only way to reach the level of
technical acuity necessary to achieve the Brothers’ vision for the film’s awe-inspiring
action. “Wo Ping, Larry and Andy want the fights to be as spectacular as possible,” he
says. “They love spectacle and they want to entertain. They’re interested in physical
contact in both its positive and negative light, in the same way that fire can be destructive
and it can also give warmth – that’s what they want from an action sequence.”
The exhilarating Revolutions fight sequences – the Club Hell Coat Check
showdown, Neo’s brutal fight with Bane aboard the Logos, and his do-or-die battle with
Agent Smith known as the Super Burly Brawl – result from a powerful synthesis between
the choreographer, the filmmakers and the cast. “Wo Ping’s style meshes exceptionally
well with the Brothers’ philosophy in terms of storytelling,” says producer Joel Silver.
“Beyond the obvious antagonist and protagonist combating in a test of physical will, he
illustrates the characters’ development through the fights. It was in the Dojo Fight in The
Matrix that Neo first began to explore his potential, and in Reloaded’s Burly Brawl, he is
so challenged by the onslaught of Smiths that he has to elevate himself to a whole new
level. In Revolutions, Neo and Smith have increased their abilities to the point that they’re
equal in power, and their power is immense.”
“The Brothers wanted the Super Brawl fight to convey Neo and Smith’s
invincibility,” Wo Ping explains. “I tried to create an energy behind this sequence of these
two very different fighters clashing in a battle where both must win but neither can be
defeated. Thanks once again to Keanu and Hugo’s perseverance, we were able to achieve
that energy in the fight.”
According to Silver, the cinematic payoff is extraordinary. “The Super Burly Brawl
is like the ultimate comic book battle between two superheroes wreaking havoc on the
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world, which we’ve never witnessed in live action before,” he describes. “It’s a fantastic
experience to watch how the Wachowskis have developed Neo and Smith’s rivalry to this
final, incredible resolution in Revolutions.”
Filming the colossally ambitious Super Brawl took eight weeks and required
months of preparation for the production team to develop innovative technical equipment
to realize the Wachowskis’ vision for the bombastic sequence. The script called for the
meticulously choreographed contest of will to take place in torrential rain, beginning on a
flooded street lined with Agent Smiths, and then rocketing 2,500 feet into the lightningstreaked
sky, hurtling in and out of an abandoned skyscraper, and crashing into a massive
crater where Neo and Smith’s earth-shattering conflict is finally resolved. Devices were
created to produce extra large raindrops that could be lit and seen better than typical
“movie rain.” Though it was impractical to heat the vast amount of water used in the
sequence, it was constantly recycled and purified through the rain rigs.
“Shooting the first section of the Super Brawl, where Neo and Smith confront each
other in the street in the pouring rain, was fantastic,” enthuses Hugo Weaving, who says he
“trained smarter” for Reloaded and Revolutions to avoid the injuries he suffered while
making The Matrix. “I really love the sensation of being in the rain and I felt very
invigorated and energized by it. Then when we got into the crater we were fighting in the
mud as well, so it became more difficult.”
Filming the blend of confrontational action and dialogue in the Crater proved to be
the most challenging section of the sequence for Weaving. “The rain was so heavy that it
was hard to speak without starting to have bubbles and streams of water running out of
your mouth. You couldn’t hear yourself speak, so finding the right tone in that scene was
really difficult because I had no notion of what I sounded like.”
The three-deep rows of Agent Smith spectators were simulated via a combination of
actor doubles, Smith “dummies” created by the Art Department and CGI Smiths added by
the VFX team. Doubles outfitted in Smith masks stood in the back row and controlled the
head movements of two rows of inter-connected dummies, so that every Smith follows the
fight action in synchronicity.
To create a realistic sense of weightlessness for the airborne sequence of the Brawl,
the Stunt and Martial Arts teams collaborated with Visual Effects and production
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departments to invent the “Tuning Forks,” a special rig that enabled the actors and
stuntmen to simulate weightlessness while fighting. (Early testing proved it impractical to
pursue the initial concept of shooting on a special NASA plane that simulates zero gravity
for astronaut training.) This gravity-defying section of the battle was staged in “the Egg,” a
large box-like set enclosed in blue screen where the fighting was shot and later married
with a VFX background of the rain-drenched Matrix cityscape.
Numerous other rigs and harnesses were used to achieve all of Revolutions’
acrobatic stunts and wire work, including the versatile “Twisty Belt.” Developed by
Martial Arts Coordinator and Reeves’ stunt double Chad Stahelski, the Twisty Belt is a
harness that allows one to perform fluid multi-directional rotations, such as a back flip into
a cartwheel. Another key piece of equipment was the infamous “Yak rig,” so named
because of the performers’ tendency to vomit after working in this gyroscope-based device
that simulates freefalling.
“Wire work looks easy, but it takes a lot of practice to get used to articulating your
body and developing timing between you and the wire team that’s pulling,” notes Stahelski.
“On top of all that, you need to be flexible, you need to be able to kick and punch and you
still need the strength to pull your body up into the required positions.”
“It was grueling work, trying to execute the Kung Fu and wire moves in the rain,
but Hugo and Chad and the stunt team were incredible,” Reeves says of the painstaking
effort that went into perfecting the brutally balletic sequence. (In addition to his work in
the Super Brawl, Reeves also performed portions of Neo’s fight with Bane aboard the
Logos without the benefit of sight, since the prosthetic makeup used to depict Neo’s eye
damage severely limited his vision.)
“Keanu beats himself up on set and he has very high expectations of what the
standard of work should be, but he never pressures me or the other actors,” Weaving adds.
“He’s a great listener – I really love working with him.”
Another gravity-defying Revolutions fight sequence designed by Wo Ping takes
place in the Club Hell Coat Check, where Trinity, Morpheus and Seraph infiltrate an
underground nightclub in the Matrix to confront the Merovingian, who has placed a bounty
on each of their heads. A track system was installed on the ceiling of the set to anchor the
actors and stunt performers upside down, and the Twisty Belt again provided the range of
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motion needed to pull off the characters’ acrobatic melee. Hundreds of squibs, explosives
and breakaway set pieces had to be synchronized with the performers’ complex maneuvers.
“When I walked onto the Club Hell set, it reminded me of when Keanu and I shot
the Lobby sequence in The Matrix,” recalls Carrie-Anne Moss, who broke her leg while
training for Reloaded and Revolutions. “The pressure to get every move right and be in
sync with all the squibs and the explosions was immense. I was nervous about getting back
on the wire again after breaking my leg, but Chad and the wire team really helped me out.
I wound up nailing a couple of big moves in one take, and got a ‘Hurrah!’ from the
Brothers, which is really rare. Completing the Club Hell sequence was one of the
highlights of this project for me.”
“Carrie-Anne’s attitude on these projects has been ‘Just tell me what you want me
to do and I’ll do it,’” Reeves says admiringly. “She embodies and lives that, beautifully
and inspiringly so.”

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thanks for sharing