Chapter 79

The plot structure of *The Matrix* is actually quite simple, essentially a story of time travel, set against the backdrop of an apocalyptic world and filled with various mysterious elements. To most Chinese people, the original work might seem like a series of cool and stylish action scenes.

However, at its core, it still embodies the viewpoint of Western philosophical idealism. During the filming process, Chen Tiandu's understanding of the original work became increasingly profound. He realized that this was also a process of learning.

Chen Tiandu has never been a materialist. Although he has been indoctrinated for years with the theory that "the world is material, and the material world can be cognized," he still believes that the universe is vast and full of wonders, and many things cannot be explained by materialism. Thoughts, at times, can even transcend the body and accomplish actions that ordinary people cannot.

The unreserved criticism of the mental world in middle school textbooks, from his current perspective, seems very forced. For example, your political science teacher must have told you that the phrase "a calm mind brings coolness" is incorrect because it falls into the category of idealism. However, in real life, a peaceful mind can indeed lower body temperature and bring a sense of coolness, especially noticeable on hot summer days. This is a real phenomenon in life, yet it is denied and opposed with a set of arguments, which is an irresponsible act in Chinese education.

From "a calm mind brings coolness" to "I think, therefore I am," this is an advancement in idealism.

The former only emphasizes that consciousness can influence the body, while the latter completely denies the view that the body determines consciousness. It believes that human thought is the foundation of all matter, and a body without thought is like a walking corpse, devoid of any meaning.

In reality, there are often tests of the soul. Many people on the brink of death have experienced out-of-body experiences; mysterious reincarnated children seem to confirm the idea of the immortality of the soul and the cycle of rebirth. However, the boldest hypothesis appears in *The Matrix*. Don't think it's just a dazzling high-tech movie; many of its lines are deeply profound.

For example, when Morpheus trains Neo in kung fu, he says: "Have you noticed that in this space, you don't need to breathe... I hope you can forget yourself." Compared to the "oneness of man and sword" in Chinese martial arts, Morpheus's realm is undoubtedly higher. He is not just a man or a sword; he is beyond both, completely forgetting himself. The implication is to forget the constraints of the body and defeat the opponent with an infinitely expanded consciousness—this is "absolute idealism."

Chen Tiandu had not deeply studied Western philosophy before and had not felt much about it. However, after nearly two years in the United States, he has been exposed to more Western culture and has felt more deeply about it.

On this basis, he added many cinematic techniques.

For example, in a scene where Neo meets the Oracle and sees a cute boy, similar to a young living Buddha, teaching Neo how to bend a spoon with his mind, the boy says: "Do not try to bend the spoon. That's impossible. The spoon does not exist. What bends is your mind."

Seeing this, Chen Tiandu couldn't help but smile. It reminded him of a famous Zen story about "the wind moves, the flag moves": A group of monks, after a meal, were resting at the temple gate. The flag on the flagpole was fluttering. One monk said, "The wind moves." Another monk said, "The flag moves." A third monk, with great depth, said, "It is neither the wind nor the flag that moves, but the mind that moves."

Buddhists say that the third monk's realm is not ordinary. He elevates a simple natural phenomenon to the realm of consciousness, recognizing the extraordinary role of consciousness and the instability of greed, anger, and delusion, which come from the mind. He has achieved great enlightenment.

In the movie, Neo can bend the spoon by changing his mind, but he is not yet enlightened; rather, he is taking the first step to becoming the savior. This may be the difference in the understanding of idealism between the East and the West: the East advocates self-cultivation for self-redemption, while the West advocates self-cultivation to save the world. Whether broad or narrow, it is difficult to define precisely.

In these aspects, Chen Tiandu modified the lines to be more interesting.

He changed the profound Western philosophical language to the profound Zen and Taoist culture of the East.

"I think, therefore I am."

"Know me, understand me, and then forget me. No technique is the best technique!"

"The wind moves, the flag moves, or neither the wind nor the flag moves, but the mind moves."

He doesn't know if American audiences can accept such obviously Eastern cultural lines, but he found it fun and decided to do it.

The material world and the mental world are an irreconcilable contradiction, and people live in this combination. Everyone is actually striving for balance, just like the final outcome of the movie, where humans and machines can only coexist peacefully to balance the world.

The same applies to matter and consciousness. Don't say who determines who; balance these two aspects, and people can understand things!

Actually, the movie plot of entering a virtual matrix world from the real world, involving two opposing and contradictory worlds, is not particularly novel. *The Truman Show* portrays a world inside a TV show more thoroughly.

Chen Tiandu's previous film "The Sixth Sense" also had a similar setup. This is a contradiction between "thinking one knows" and "actually not knowing."

Strictly speaking, the plot of *The Matrix* is even simpler than "The Sixth Sense."

Compared to the original's purely stylish and cool action scenes, Chen Tiandu's understanding of kung fu is clearly deeper. Standing on the shoulders of giants, he naturally aims to do better than the original.

During the filming of this movie, Chen Tiandu often regretted the original director's insufficient preparation and overly flashy techniques, which made the characters' portrayal of profound truths seem forced.

Chen Tiandu's new version of *The Matrix* naturally "inherits" the story framework and general outline created by the original director, then optimizes the details, mainly by enhancing the film's rhythm.

While showing off kung fu in a cool way, he also emphasizes the profound essence of kung fu, making up for the original's shortcomings.

For example, in this scene, Morpheus is captured, and the special forces are interrogating him to get the Zion password. Neo and Trinity enter to save him, and this fight scene is the climax of the film.

As the plot reaches this point, it means that the shooting of the virtual matrix world in *The Matrix* is almost complete.

Wearing black capes and carrying guns, they head straight for the special forces base. In the original, the fight scenes were too flashy with slow-motion and bullet-spraying shots, resulting in bullets falling to the ground while few people died. Too many slow-motion shots made the fast parts lack impact.

However, under Chen Tiandu's direction, after multiple discussions with Yuan Heping, they came up with a satisfactory shooting method to complete the bullet-flying scenes.

With a shout of "Action!" the camera starts to spin.

Carrying a bag through security, the beeping sounds continuously. A security guard approaches, "Take out all metal items from your body, keys, coins..." Neo lifts his coat, revealing a row of guns.

"Oh, shit."

Then he punches the guard, sending him flying, and the gunfire starts.

This shot starts from the feet and moves up. In the original, the scene of the guard being punched was shown in slow motion. Chen Tiandu discarded this and used quick cuts of 0.5-second shots. Studies in Hollywood have shown that 0.5-second shots are the most suitable length, as they leave an impression on the audience without feeling too slow. Therefore, 0.5-second shots are the most commonly used in Hollywood blockbusters.

Chen Tiandu applied this technique in *The Matrix*.

The result is a clean and powerful fight scene, full of destructive force, with the characters being agile and nimble.

After breaking through the entrance, the two take the elevator to the top floor. Neo shoots the cable, but it doesn't break; the elevator shakes. He wraps his arm around Trinity's waist, thinking, "The wind does not move, the flag does not move, it is my mind that moves."

"Bang~" A shot is fired, and the camera moves up, the cable pulling the two to the top floor.

"Good, the sense of déjà vu is strong, we got it all," the photographer, Aiman, said happily.

"Great!" The shooting is going smoothly, and Chen Tiandu is in a good mood. He shouts, "Michael, are the bullet time shots on the rooftop ready?"

"No problem, anytime."

"Alright, let's aim to complete all the internal virtual matrix shots this week and start shooting the real-world spaceship scenes in the studio in three days."

Time passes, and soon it's March. The Oscars are coming, and the shooting of *The Matrix* is nearing its end.

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