A wide and exhausting scene that had taken longer than expected to complete—ultimately, it was the cameras, the music, or perhaps the cunning nature of small mistakes that forced him to repeat the take over and over again. Completely absorbed, it was as if time stood still behind him.
He lifted his eyes to take a break, making a quick call—one that had long been overdue. The time difference with Jim Waiit made it difficult to make long-distance calls. Whether he admitted it or not, his time was limited, and the success of his performances trailed him closely, much like the paparazzi who were already staking out the hotel. The fame brought on by Titanic had skyrocketed his popularity to astonishing levels. The film had just finished its run in theaters worldwide, with a record of 5,000 screens and a gross of $1.63 billion, shattering every known benchmark. The list was long—his box office appearances had amassed a staggering total of $2.5 billion, securing him a place in the top 10 of all-time box office giants.
He took a deep breath, letting the wind fill his lungs, giving time for the phone to ring.
–Billy.–
–Jim, I've been meaning to catch up with you.–
–Are you asking me to fly to Australia? I could take a vacation with my wife.– Jim Wait replied over the line.
–That would be great, but unfortunately, no. I'm just checking my calendar for the coming months.– Billy said.
Jim cleared his throat.
–Well, your calendar hasn't changed. You're filming three movies, producing The Lord of the Rings, and maybe—just maybe—waiting for better times to come for all of us.– Jim joked.
–I think I'll have some time in November. I need to start prepping for the role of Lucas, but maybe I can squeeze in something else between December and March. Less production, more art.– Billy commented.
–I'd love to see you take a role like that.– Jim replied. –But right now, we're in investment mode. Rounders kicked off last month, along with two others—small budgets, big hopes.–
–Well, then, nothing more to be done.– Billy said.
–You managed to secure funding for Meet Joe Black. That's another film I want in my library.–
–We got it. Anne moved quickly with the deposit—$10 million—and secured North American distribution. She's as efficient as they come when she sees a signed contract, especially with the whole cast and the insurance policies in place.– Jim replied calmly and to the point.
–They're thinking about launching another project.– Jim added. –They're releasing The Devil's Advocate to build buzz, but the commercial release is slated for October—you'll need to be there. And Fight Club is headed to the Venice Film Festival, though you'll skip that one.–
–I'll be there for the premiere. Though I fear it's a hard film to grasp. During shooting, I didn't understand half of it. The camera danced around strangely, and some performances bordered on ridiculous.–
...
Taking a long breath, he gave people the time they needed to get everything in place. A deep breath, and he laid back again on the bed, surrounded by a massive arch of Styrofoam, cameras above and on each side, fixed in various positions, ready for a continuous shoot, catching hidden angles.
–Let's start from the beginning.– said Andy. –We'll run the scene straight through, maybe a few pauses.–
–Scene 12, take 3.–
INT. ZION – RESIDENT ELEVATOR – DAY
Link: This is my stop. Hope to see you soon… though maybe not too soon. Catch you later.
He leads the boy away.
Link: These two have a few things to take care of.
The door suddenly closes. They're alone. They both look up at the floor indicator, watching the numbers tick by slowly. They're thinking the same thing, almost magically, at the exact same moment.
They drop everything—packs, belts, tools, bags—everything falls to the floor as they reach for one another with such urgency it seems their lips aren't enough. They drink from each other like water in the desert, a transfusion. They come back to life, fueled by something hot and flowing. They break the kiss.
Trinity: You're thinking what I'm thinking.
Neo: That the elevator's way too slow.
Trinity: How long does Nebuchadnezzar's loading usually take?
Neo: Forty hours. Maybe thirty.
Trinity: Some people go days without hearing a single piece of good news.
The elevator slows. Her smile fades. People wait at their stop. But Neo must answer to those gathered around him, as if facing some existential vacuum.
Old Woman in Zion: Neo, please. My son, Jacob, he's on board the Gnosis. Please, look after him.
Neo: I'll try.
Another Woman: My daughter's on the Icarus.
Neo: No—wait.
Trinity: It's okay. They need you.
Neo: I need you.
Trinity: I know. There's still time.
Neo looks conflicted. A few small changes have been made to the script, and every subtle cue is carefully considered.
They pause briefly while Billy searches for Trinity with his gaze. She's standing maybe twenty meters away, patiently waiting. One false move and it would be over. These are short transitions—less than 20 seconds—before the scene resumes its intended pace. He loses sight of her as people close in. He listens to every word with kindness. He's different—still shy, but more commanding and composed than one would expect.
Neo: Excuse me.
Neo: I missed you.
Trinity: I can tell.
Neo: I was just thinking… everyone's here.
Trinity: Come with me.
Trinity: Neo, what's going on? What's wrong? It's okay. You can tell me.
Neo: Trinity…
Trinity: Don't be afraid.
Neo: I can't lose you.
Trinity: You won't lose me. Do you feel that? I'll never let go of you.
–Cut.–
Four more scenes remain before they move on to the rest of the shoot. They're alternating between two sets nearly thirty meters apart—a remarkable system. The Wachowski siblings manage so much at once, it's as if they've bent time itself, making everything move faster.
...