Movies with a history of color timing changes often generate a lot of discussion. Interestingly, a Bill Pope (cinematographer of The Matrix) interview from just before The Matrix was released seems to support the green look as the film’s intended aesthetic: “We didn’t necessarily want the Matrix world to resemble our present world. We didn’t want any cheery blue skies. In Australia, the sky is a brilliant blue virtually all the time, but we wanted bald, white skies. All of our TransLight backing

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