Editing The Matrix (section)

=== Production design ===
{{See also|Matrix digital rain}}
In the film, the code that composes the Matrix itself is frequently represented as downward-flowing green characters.<ref>[https://cactus.black/matrix The Matrix — cactus.black (Black Cactus)] {{Webarchive|url=https://web.archive.org/web/20210903040638/https://cactus.black/matrix |date=September 3, 2021 }}, cactus.black</ref> This code uses a custom typeface designed by Simon Whiteley,<ref name="Museum"/> which includes mirror images of [[half-width kana]] characters and Western Latin letters and Arabic numerals.<ref name="Look of the Matrix">{{Cite AV media |title=[[The Matrix Revisited]] |date=November 20, 2001 |last=Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) |publisher=[[Warner Bros. Pictures]] |place=United States |section=Look of the Matrix |medium=DVD}}</ref> In a 2017 interview at [[CNET]], he attributed the design to his wife, who is from Japan, and added, "I like to tell everybody that The Matrix's code is made out of Japanese sushi recipes".<ref>{{cite web |last=Bisset |first=Jennifer |date=October 19, 2017 |title=Creator of The Matrix code reveals its mysterious origins |url=https://www.cnet.com/news/lego-ninjago-movie-simon-whiteley-matrix-code-creator/ |access-date=November 5, 2018 |website=[[CNET]] |archive-date=May 9, 2020 |archive-url=https://web.archive.org/web/20200509142745/https://www.cnet.com/news/lego-ninjago-movie-simon-whiteley-matrix-code-creator/ |url-status=live }}</ref> "The color green reflects the green tint commonly used on early [[monochrome monitor|monochrome computer monitors]]".<ref>{{Cite book |last=Clover |first=Joshua |url=https://archive.org/details/matrix0000clov |title=The Matrix |publisher=[[British Film Institute|BFI Publishing]] |year=2004 |isbn=978-1-84457-045-4 |location=London |pages=[https://archive.org/details/matrix0000clov/page/8 8–9] |quote=In the denouement [of ''The Thirteenth Floor''], Douglas Hall simply crests a hill to discover that what he had thought was the real world has, beyond this point, yet to be constructed. In lieu of landscape, only crude phosphor-green polygons, the basic units of video graphics rendering, in the primal monochrome of an old CRT. The raw material of the simulation is even more basic in ''The Matrix'' – machine language itself, in the same familiar green{{nbsp}}... |url-access=registration}}</ref> Lynne Cartwright, the Visual Effects Supervisor at [[Animal Logic]], supervised the creation of the film's opening title sequence, as well as the general look of the Matrix code throughout the film, in collaboration with Lindsay Fleay and Justen Marshall.<ref name="Museum"/> The portrayal resembles the opening credits of the 1995 [[Japanese cyberpunk]] film, ''[[Ghost in the Shell (1995 film)|Ghost in the Shell]]'', which had a strong influence on the ''Matrix'' series. It was also used in the subsequent films, on the related website, and in the game ''[[The Matrix: Path of Neo]]'', and its drop-down effect is reflected in the design of some posters for the ''Matrix'' series. The code received the Runner-up Award in the 1999 Jesse Garson Award for In-film typography or opening credit sequence.<ref name="Museum"/>

''The Matrix''{{'}}s [[production design]]er, [[Owen Paterson (production designer)|Owen Paterson]], used methods to distinguish the "real world" and the Matrix in a pervasive way. The production design team generally placed a bias towards the Matrix code's distinctive green color in scenes set within the simulation, whereas there is an emphasis on the color blue during scenes set in the "real world". In addition, the Matrix scenes' sets were slightly more decayed, monolithic and grid-like, to convey the cold, logical and artificial nature of that environment. For the "real world", the actors' hair was less styled, their clothing had more textile content, and the cinematographers used longer lenses to soften the backgrounds and emphasize the actors.<ref name="Look of the Matrix"/>

The ''[[Nebuchadnezzar (The Matrix)|Nebuchadnezzar]]'' was designed to have a patched-up look, instead of clean, cold and sterile space ship interior sets as used on productions such as ''[[Star Trek]]''. The wires were made visible to show the ship's working internals, and each composition was carefully designed to convey the ship as "a marriage between Man and Machine".<ref name="The Nebuchadnezzar">{{Cite AV media |title=[[The Matrix Revisited]] |date=November 20, 2001 |last=Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) |publisher=[[Warner Bros. Pictures]] |place=United States |section=The Nebuchadnezzar |medium=DVD}}</ref> For the scene when Neo wakes up in the pod connected to the Matrix, the pod was constructed to look dirty, used and sinister. During the testing of a breathing mechanism in the pod, the tester suffered hypothermia in under eight minutes, so the pod had to be heated.<ref name="The Power Plant">{{Cite AV media |title=[[The Matrix Revisited]] |date=November 20, 2001 |last=Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) |publisher=[[Warner Bros. Pictures]] |place=United States |section=The Power Plant |medium=DVD}}</ref>

[[Kym Barrett]], costume designer, said that she defined the characters and their environment by their costume.<ref name="Costume">{{Cite AV media |title=[[The Matrix Revisited]] |date=November 20, 2001 |last=Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) |publisher=[[Warner Bros. Pictures]] |place=United States |section=Costume |medium=DVD}}</ref> For example, Reeves's office costume was designed for Thomas Anderson to look uncomfortable, disheveled and out of place.<ref name="The Shooting Begins">{{Cite AV media |title=[[The Matrix Revisited]] |date=November 20, 2001 |last=Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) |publisher=[[Warner Bros. Pictures]] |place=United States |section=The Shooting Begins |medium=DVD}}</ref> Barrett sometimes used three types of fabric for each costume, and also had to consider the practicality of the acting. The actors needed to perform martial art actions in their costume, hang upside-down without people seeing up their clothing, and be able to work the wires while strapped into the harnesses.<ref name="Costume"/> For Trinity, Barrett experimented with how each fabric absorbed and reflected different types of light, and was eventually able to make Trinity's costume mercury-like and oil-slick to suit the character.<ref name="Trinity"/> For the Agents, their costume was designed to create a secret service, undercover look, resembling the film ''[[JFK (film)|JFK]]'' and classic [[men in black]].<ref name="Interrogation Room"/>

The sunglasses, a staple of the film's aesthetics, were commissioned for the film by designer Richard Walker from sunglasses maker Blinde Design.<ref>{{cite web |last=Navratil, Wendy |date=May 4, 2003 |title=Neo's cool and so are his shades |url=https://www.chicagotribune.com/2003/05/04/neos-cool-and-so-are-his-shades/ |access-date=July 7, 2012 |website=[[Chicago Tribune]] |publisher=[[Tribune Company]] |archive-date=May 16, 2013 |archive-url=https://web.archive.org/web/20130516010955/http://articles.chicagotribune.com/2003-05-04/features/0305040269_1_matrix-glasses-morpheus |url-status=live }}</ref>