![]() Rarely seen without a book in her hand, she participated in the pre-publication promotional teams for New York Times bestselling author Allison Saft’s novels A Far Wilder Magic and A Fragile Enchantment. In addition to writing about Marvel, Star Trek, Star Wars, The Lord of the Rings, Doctor Who, Farscape, Game of Thrones, Studio Ghibli, Guillermo Del Toro, film noir, horror, and K-Dramas for Collider, she's had the pleasure of contributing to the independent film journal Bright Wall/Dark Room and interviewing filmmakers for IndieWire’s Women and Hollywood division. She earned a Bachelor of Fine Arts degree in Digital Filmmaking from Stephens College in 2013. A lifelong lover of storytelling, she has over a decade of professional experience writing about entertainment through a critical, analytical lens. Kelcie Mattson is just a small town girl and a senior features writer for Collider. Marshall was the R&D Supervisor on Legend of the Guardians, The Great Gatsby, and Happy Feet, and the software development manager on the sci-fi film Knowing. He worked as the concept artist and primary designer for The Lego Movie, was the production designer on The Lego Ninjago Movieand Zack Snyder's Legend of the Guardians: The Owls of Ga'Hoole, designed the opening title sequence for George Miller's Babe, and served as the visual effects designer for Terrence Malick's The Thin Red Line. Since The Matrix, Whiteley has contributed to and collaborated on other projects in different roles. By experimenting creatively, the pair crafted cinema iconography. The digital rain remains instantly synonymous with The Matrix to this day. The detailed efforts of Whiteley, Marshall, and Animal Logic paid off. When it came time to overlay the code over live-action images, they "rendered on essentially a flat plane that was directly in front of a camera." To heighten the sense that something was perplexing, even wrong, they added Arabic numerals to the existing characters (aka the existing sushi recipes) and repeated certain characters. They mimicked "the look of text on an old IBM CRT monitor" to achieve that distinctive green shade. With the main look in place, Animal Logic dived into even more meticulous details. "I like to tell everybody that The Matrix's code is made out of Japanese sushi recipes," Whiteley reveals. An idea formed: Whiteley modeled the digital rain on Japanese typography and lifted the code straight out of that same cookbook. ![]() The more he flipped through a certain recipe magazine, the more potential he saw. Whiteley's wife is Japanese, and he turned to her for advice - and, eventually, to her cookbook collection. An employee of the Animal Logic studio, Whiteley describes his first idea as a "three-dimensional type that clicked over as it tumbled." Although the Wachowskis were appreciative, according to Whiteley, "They admired Japanese animation and martial arts films, and what they wanted to do was try and bring some of that ancient kind of feel into the code and into the graphics.” The Matrix production designer Simon Whiteley went back to the drawing board after the Wachowskis requested a title sequence redesign. Runtime 136 minutes 'The Matrix's Digital Rain Has Surprisingly Simple Origins
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