Э нет дорогой друг
r45*Storm, это не бред, ты просто плохо знаком с тем как делают фильмы. Про восхищение Вочевских перед аниме и в частности Призрака в доспехах говорит Джоел Силвер продюсер Матрицы в интервью на DVD Аниматрицы. Кстати Аниматрица в общем и есть то самое аниме.
И еще хочу сказать, ничего не рождается на пустом месте, именно поэтому кое-что на кое-что так сильно похоже. Шекспир тоже переделывал старинные сюжеты, но после этого его пьесы не перестали быть шедеврами.
Теперь про Темный Город, если тебе интересно, то я могу тебе раскрыть одну из причин почему эти два фильма так похожи по части декораций, они снимались друг за другом на одной и той же студии. А вот почему сюжеты этих фильмов так пересекаются друг с другом это вопрос открытый.
А теперь ещё некоторое количество интересных вещей о кинофильме Матрица.
The Matrix (1999)
The Matrix is probably the movie that comes closest to duplicating the swashbuckling, mythic feel of the original Star Wars (1977). Writer/directors Larry and Andy Wachowski were smart enough to play out the same Campbellian underlying structure rather than (as almost everyone else does) merely imitating the surface.
The strongest source of imagery used in The Matrix is probably Kokaku kidotai (1995, released in the US as Ghost in the Shell, based on the manga by Shirow Masamune): The hotel lobby gunfight in Matrix strongly resembles the cathedral finale in Ghost, particularly the riff of picking up a gun mid-cartwheel, and the stone columns being blown to shrapnel. The scene where Neo is experiencing some kind of high-tech acupuncture is borrowed directly from Ghost. A character in the prologue wears frameless sunglasses just like Morpheus. The general colors and look of the Matrix are similar to Ghost throughout (in fact Trinity was Japanese in the original concept art). Click here for a well-done essay on similarities between the two films, including side-by-side visual comparisons.
Alien: Resurrection (1997) was another strong influence on the visuals in The Matrix: The shot of Trinity jumping from one building to another for the first time is almost identical to Ripley jumping across a chasm in Alien 4. "Bullet time" looks very similar to the slow-motion scenes of the pirates firing projectiles underwater (sending out waves of compression).
William's Gibson's genre-spawning cyberpunk novel Neuromancer (1984) introduced the term "The Matrix" for cyberspace and otherwise established the convention of superhero-like rogue agents dividing their time between cyberspace and the real world. (For information on Gibson's sources, see the excellent William Gibson; A Reader's Guide, by Lance Olsen.)
The Bible is a huge influence in The Matrix: most obvious is Neo as a Christ figure. This point is made again and again: the guy who buys contraband intel off Neo says "You're my savior, man; my own personal Jesus Christ." Cypher (Judas) jumps when Neo startles him, "Jesus!" Nebuchadnezzar is a king from the Old Testament (who had bad dreams), "Trinity" refers to the Holy Trinity, and "Zion" was a Jewish citadel in Palestine (the word has since come to mean "the ideal Jewish nation").
Matrix is stuffed full of references to Alice in Wonderland: deciding which pill to take, following the white rabbit, "falling down the rabbit hole," entering the special world through the looking-glass, etc.
Tron (1982) was the first depiction of "cyberspace" most people had ever seen. Part of the end credits are in vertical strips of Japanese, green against a black background. Play the tape backwards and it looks remarkably similar to the computer code of The Matrix (although the opening credits from Ghost in the Shell also look very matrix-like).
Parts of the Matrix soundtrack (mostly the "nervous violins") seems to borrow from Igor Stravinski's Le sacre du printemps (Rite of Spring). Neo's first awakening in the real world is made extra-creepy with a musical allusion to the choral music of Gyorgy Ligeti (which played whenever a monolith appeared in 2001; A Space Odyssey). The ominous military soundtrack which played as Neo and Trinity stormed the police-guarded lobby seems strongly influenced by the theme to Terminator, which played while the Terminator stormed a police headquarters.
The "needle in the neck" visual may have come from the computer/human linkup in Saturn 3 (1980), or Space: 1999 (1975). (This idea has been around in science fiction novels since at least the '50s.)
The Wachowski's were very lucky to get Hong Kong fight choreographer Woo-ping Yuen, as his films were a huge influence on the fight scenes in the script. The "woman running on the walls" riff was used in Woo-ping's Siunin Wong Fei-hung tsi titmalau (Iron Monkey, 1993, highly recommended).
Dark City is sometimes considered a big influence on The Matrix: the two share a "what is reality?" theme and lots of guys in black trench coats. But The Matrix script was finished in April 1996, and Dark City wasn't released until 1998. (Dark City borrows mostly from Bladerunner and '40s film noir. The Strangers resemble Pinhead from Hellraiser, carrying bug-aliens from The Hidden.)
Before breaking into Hollywood the Wachowski brothers worked in comics, notably as scripters for Batman. They've definitely conveyed a general comicbook sensibility in The Matrix, as well as a few specific elements (Neo's trench coat often moves like Batman's cape). I wonder if the Sentinels are a cross between the Imperial Probe Droid from Empire Strikes Back with Doctor Octopus, a villain from Spider Man comics. Morpheus shares his name with the star of Sandman, the most influential American comic of the '90s (which also features strong "goth" visuals). I've heard that Grant Morrison believes that The Matrix heavily rips off his comicbook series The Invisibles, but my friends who read the series say this idea is "hooey."
How does the Matrix stack up as a myth?
The Matrix strictly follows Joseph Campbell's blueprint for mythic structure except for a few deviations. I see these deviations as errors, moments where the writers placed their egos above the "soul" of the story. However, it would be equally valid to argue that the Wachowskis intentionally broke those "rules" they felt Campbell had gotten wrong, or that they understand Campbell better than I do. I hasten to point out that I'm not slamming The Matrix - to me it's one of the truest myths in the modern world, which is what makes it worth critical scrutiny. Anyway, here are what I see as the mythic glitches:
•Myths in which the hero has to save the world always show why the world is worth saving. For instance, the first hundred pages or so of Lord of the Rings depict The Shire as a pastoral utopia. In contrast, Neo's pre-Matrix life is lonely and joyless. He seems to have no friends, parents, or a lover worth mentioning. He makes no sacrifice in leaving his mundane world (equivilant to Luke selling his Landspeeder to finance his flight offworld), so the "crossing the threshold into the Special World" sequence omits the sacrifice/loss component. Why is this important? The English word God ultimately traces back to the Sanskrit hub or emu, which literally means "that which is invoked through sacrifice." The mythic potency of any story can be measured by the difficulty of the choices the hero is forced to make and the amount of loss/sacrifice he endures as a result of those choices. Mythic sacrifice is metaphorical for the letting go of the ego in exchange for something greater than the self. It's a metaphor for growing up.
•Neo is a Christ-figure, but he is never tempted as Christ was tempted (Satan offered Christ dominion of all the Earth in return for his fealty). The "temptation of Christ" sequence is substituted with the "temptation of Judas Iscariot" scene (Cypher represents Judas) - mythically valid, but far less important. One of the most essential steps in the Hero's Journey is a temptation off the true path in the form of a difficult choice. The Dark Side doesn't look evil, it looks expediant: Luke has to lose to Darth Vader at the end of The Empire Strikes Back, because he's strayed from The Path by going to rescue his friends knowing that Yoda believes this will ultimately serve the Dark Side. The beginning of the path down the Dark Side is the inability or refusal to accept sacrifices, to choose the lesser of two evils. It's almost inevitable that Neo will be seriously tempted in the later movies
(probably to save Trinity's life). Это я хочу отметить было написано значительно раньше, чем Матрица Перезагрузка вышла на экраны. But ideally every discrete section of a myth (such as the first movie of three) should embody a complete subset of mythic structure.
•Finally, my biggest gripe with The Matrix is the logically-needless and mythically counterfeit "revenge fantasy" sequence in the lobby (though it was fun to watch). Every epic myth includes a sequence which may be described as a "revenge fantasy," but it's always against the bullies (the Agents), never the innocent people who don't know better and are thus easily-controlled by the bullies (the human soldiers and police officers). The Wachowskis entered the film industry via superhero comicbooks, which author Neil Gaiman once described as "revenge fantasies of the impotent." Unfortunately I think Matrix leans a little too far in the "revenge fantasy" direction, staining an otherwise nearly-flawless myth. It may seem a small thing, but Tolkien believed that myth is extraordinarily delicate, and a single counterfeit element can completely invalidate the moral authority from which myth derives its power.
GeekNote: "Neo" is an anagram for "One" (the same letters rearranged). Neo is greek for "new."