Time always flows uncontrollably. By the time September arrived, Jeff Robinov traveled to Sydney for a face-to-face meeting with Duke. Warner Bros. then formally began discussions with Duke’s studio regarding the Harry Potter series. Duke simply sent Tina Fey back to Los Angeles to assist and supervise Nancy Josephson in the negotiations with Warner Bros.
Meanwhile, after four months of preparation and over three months of actor training, The Matrix officially began shooting at the Fox Studios.
No reporters, no special ceremonies, no chaotic press conferences—filming began in a quiet atmosphere.
Due to Keanu Reeves’ hair issues, Duke decided to start shooting scenes set entirely in the virtual world.
While Keanu could wear a green cap and have his hair digitally erased in post-production, it would undoubtedly increase costs, so it was better to schedule the shoots differently.
Taking advantage of the fact that training had just been completed and that both the main actors and stunt doubles were in top form, Duke began with a large number of action scenes.
"I know many of you still don’t quite understand what this film is about."
As the crew of various departments got ready, Duke stepped onto the set. Like most Hollywood productions, many actors only received scripts for their specific roles rather than the full script and thus had no idea about the film’s overall framework. But none of that mattered. "You just need to finish the scenes in your script, follow my instructions for your performances, and then you can leave this hell."
The hundred days of training might not compare to a professional regimen, but for these actors, it was both a physical and psychological ordeal.
Duke tilted his head toward Tiger Chen, who then walked over to Keanu Reeves and Laurence Fishburne for one last explanation of the choreography. Duke moved away from the dojo and positioned himself behind the cameras.
Yuen Woo-ping was behind the lens for this scene. Naturally, professional work was left to the professionals.
With months of sufficient communication behind them, Duke nodded to Yuen Woo-ping and then moved to the monitors. After Yuen Woo-ping informed his assistant, the clapperboard quickly marked the beginning of the take.
Hong Kong-style martial arts films, while dazzling and visually appealing once completed, were far from realistic in terms of biomechanics. Nonetheless, they were quite eye-catching. However, the shooting process was anything but pretty. Under Tiger Chen’s guidance, the fight between Keanu Reeves and Laurence Fishburne was as slow as molasses. As Duke had expected, neither actor had even grasped the basics of martial arts, and their movements looked feeble and awkward.
However, this fit the virtual world’s setting perfectly. What Duke wanted was precisely flashy but superficial choreography. After all, this was a sci-fi film, and no audience, no matter how naïve, would believe martial arts could make one fly.
Moreover, the filming of Hong Kong-style action scenes, due to their intricate and elaborate movements, required far shorter takes compared to Hollywood’s brute-force brawls. Often, a single shot lasted only a few seconds or even less before Yuen Woo-ping called for a break, allowing Tiger Chen to correct the actors’ movements. ᴛhis chapter is ᴜpdated by 𝗻𝗼𝘷𝗲𝗹•𝓯𝓲𝓻𝓮•𝕟𝕖𝕥
Sitting behind the monitor, Duke focused on overseeing the set’s overall progress, leaving the action sequences entirely in Yuen Woo-ping’s hands.
This was perhaps one of Duke’s greatest strengths. Although he had lived an extra lifetime, he was not necessarily better than the world’s genuine elites. However, his psychological maturity was on a completely different level. He knew he had talent and experience in filmmaking, but he was also aware that he wasn’t an all-rounder. While Yuen Woo-ping might not be able to create an original film as compelling as Duke’s, in the realm of Hong Kong-style action cinematography, he was undoubtedly superior.
As he sat there, Duke was not just observing; he was also learning. Being deeply embedded in Hollywood, he naturally embodied its spirit of inclusiveness.
Absorbing and utilizing others’ strengths was something every successful director constantly pursued.
Of course, Duke would never adopt these Hong Kong-style filming techniques for his future projects. Nor would he create pure martial arts films.
The first day’s shoot focused only on choreographed ground combat. By the second day, wirework scenes began to appear in large quantities. While Keanu Reeves and Laurence Fishburne had undergone some training, Duke strictly required professional stunt doubles for any shots not involving close-ups or side profiles.
With only two and a half months of production time, any injuries to the stunt doubles could be managed by replacements. However, if the main actors were hurt, those scenes would have to be halted.
Every day the production was delayed, it burned through funds.
After two days of filming, Duke had to admit that Hong Kong-style filmmaking offered unique advantages when shooting scenes like the fight between Neo and Morpheus. In fact, they were clearly ahead of Hollywood’s formulaic and simplistic action choreography by an entire level. The fleeting popularity of Hong Kong action films in Hollywood and across North America at the turn of the century was no coincidence. However, Hollywood viewed them as outsiders, and they, in turn, saw themselves as outsiders. Various factors contributed to their brief stint in the spotlight.
Perhaps describing their future in North America as "a taste of indulgence, then death" would be fitting for martial arts films.
Future Hollywood action sequences would draw heavily from martial arts influences, but they would no longer be martial arts films. From Batman’s simple and brutal fights to Captain America’s swift and fierce strikes, these styles reflected Hollywood’s incorporation of martial arts elements into innovative hybrids with other combat forms.
The dream of Hong Kong films breaking into Hollywood was quickly extinguished.
Even legends like Jackie Chan, Jet Li, and Yuen Woo-ping couldn’t establish martial arts films as a mainstream genre in North America at their peak.
This was an incredibly insular media market. A simple study would reveal that over 99% of films from the rest of the world were absent from North American theaters. The dream of Hong Kong films conquering this market was purely a fantasy.
The decline of Hong Kong cinema was inevitable. Starting from Jurassic Park, which stormed into their city, Hong Kong films were already on a downward trajectory. By the time Titanic swept the globe this year, Hong Kong cinema had only one path left—heading north.
Ironically, many filmmakers in that city failed to recognize the situation. The northern market didn’t need them, but they desperately needed the northern market.
Hong Kong’s decline wasn’t limited to cinema. Without northern support, the city’s other industries would quickly collapse as well.
Among them, the film industry harbored many who couldn’t grasp the rapidly evolving landscape, clinging instead to their meager offerings and refusing to innovate.
For example, during the training and filming of The Matrix, Duke often overheard people speaking Mandarin, saying, "We have to keep our best tricks under wraps..."
But what was the point of holding back? Absolutely none.
Hollywood didn’t care to understand the profound aspects of martial arts. They only cared about its surface appeal—how to make fight scenes look more fluid, agile, and visually stunning.
Understanding martial arts in depth wasn’t necessary.
Currently, Hong Kong action teams had an overwhelming advantage in this area over Hollywood. If they were willing to adapt proactively, incorporating the preferences of North American audiences and drawing from other combat styles, they could design action routines better suited for the global market. They might even secure a significant slice of Hollywood’s action choreography industry.
In Hollywood, discrimination undeniably existed. But one thing could override all prejudice: profit. If something generated profits, Hollywood could even deify a Black man.
This was a straightforward truth for Duke, but Yuen Woo-ping clearly wasn’t interested in change. Duke had no intention of bringing it up either. Their relationship was purely a business collaboration, with no further ties.
Had this team come from the north, Duke might have offered a word of advice. But since they came from that city, it was better left unsaid.
Hollywood mirrored the business world: those who could adapt stayed, while those who couldn’t were naturally eliminated.
During dialogue-heavy scenes, Duke took full control of the shoot.
"Laurence!" He called out to the Black actor, who had just completed a test take. "Your expression is off! As Neo’s guide, you firmly believe he’s the One. When leading him to understand the real and virtual worlds, you need to act..."
After a brief pause, Duke found the right term. "More like a preacher!"
Philosophical musings and deep insights were for audiences and critics to ponder. In Duke’s view, the Oracle was just a high priest, and Morpheus was her disciple...
Laurence Fishburne closed his eyes for a moment, then said, "I think I’ve found the right state of mind."
Unlike Chicago, Duke had lower expectations for the actors’ performances in this film. The primary requirement was to keep it cool—from the actors to the costumes to the set design, everything had to exude an almost unbearable coolness. Secondly, the film needed to match its content, showcasing just a hint of mysticism without devolving into a full-blown pseudo-spiritual narrative. After all, this was a standard commercial film; philosophical depth was only necessary in small doses.
"Do you think you can beat me because you’re stronger, faster, or have better muscles?"
In the frame, Laurence Fishburne, though not wearing his iconic trench coat and glasses, still managed to radiate an aura of absolute coolness. "Neo, do you need to breathe in here?"
With Duke’s shout, the take for this dialogue-heavy scene was completed, bringing the dojo sequences to a close.
Although the sequence showcased martial arts, the dojo itself resembled Japanese architecture. Duke had initially considered using traditional Chinese structures but abandoned the idea after being advised by Robin Grant and the set designer.