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Posted on 7/19/10 at 10:46 pm to DanglingFury
Didn't see it there. So thanks. Very cool.
Posted on 7/20/10 at 12:53 am to Baloo
Found a copy of Inception, and its crappy quality, but it will have to do since the closest theater showing Inception is 1500 miles away. I'm so pissed I won't have the opportunity to see this on the big screen. 
EDIT: frick me, its only an 120 minutes long, and the run time is nearly 150. frick!!
EDIT: frick me, its only an 120 minutes long, and the run time is nearly 150. frick!!
This post was edited on 7/20/10 at 1:00 am
Posted on 7/20/10 at 1:54 am to OMLandshark
Posted on 7/20/10 at 8:50 am to UnclassyStudent
Has anyone pointed out that the kids throughout the movie are actually different actors from the 2 at the end?
The kids at the end are actually about 2 years older.
Claire Geare ... Phillipa (3 years)
Magnus Nolan ... James (20 months)
Taylor Geare ... Phillipa (5 years)
Johnathan Geare ... James (3 years)
The kids at the end are actually about 2 years older.
Claire Geare ... Phillipa (3 years)
Magnus Nolan ... James (20 months)
Taylor Geare ... Phillipa (5 years)
Johnathan Geare ... James (3 years)
Posted on 7/20/10 at 9:49 am to Fun Bunch
UnclassyStudent Great article! Supports a lot of what I have been arguing on here that the whole thing was a dream.
This post was edited on 7/20/10 at 9:52 am
Posted on 7/20/10 at 9:53 am to Geauxldineye
Another dream type situation that I forgot about in the movie :
quote:
During the chase in Mombasa, Cobb tries to escape down an alleyway, and the two buildings between which he's running begin closing in on him - a classic anxiety dream moment. When he finally pulls himself free he finds Ken Watanabe's character waiting for him, against all logic. Except dream logic.
Posted on 7/20/10 at 9:57 am to Geauxldineye
another good quote about the totems :
quote:
The problem here is that the top wasn't always Cobb's totem - he got it from his wife, who killed herself because she believed that they were still living in a dream. There's more than a slim chance that she's right - note that when Cobb remembers her suicide she is, bizarrely, sitting on a ledge opposite the room they rented. You could do the logical gymnastics required to claim that Mal simply rented another room across the alleyway, but the more realistic notion here is that it's a dream, with the gap between the two lovers being a metaphorical one made literal. When Mal jumps she leaves behind the top, and if she was right about the world being a dream, the fact that it spins or doesn't spin is meaningless. It's a dream construct anyway. There's no way to use the top as a proof of reality.
Posted on 7/20/10 at 9:59 am to Geauxldineye
quote:
During the chase in Mombasa,
I thought this, even without the closing walls, was very reminiscent of Projections attacking an intruder fwiw.
Posted on 7/20/10 at 10:02 am to UnclassyStudent
I can see how some may think the ending is a dream, but the entire movie? It's doubtful to me. This would mean everything we know about totems is irrelevant, thus making the ending insignificant. And when Nolan intentionally planned on making the last 12 seconds of the film nothing but a spinning top beginning to wobble, and then cutting away prematurely to a black screen, I can guarantee the last thing he was going for with that scene was insignificance.
Because if the whole thing was a dream, then we really don't know how totems work (as that article stated), thereby making that final scene completely meaningless.
Edit - It's actually a bit ironic that the very scene that causes people to believe the entire film was a dream is the same scene that is rendered irrelevant by subscribing to such a theory.
Because if the whole thing was a dream, then we really don't know how totems work (as that article stated), thereby making that final scene completely meaningless.
Edit - It's actually a bit ironic that the very scene that causes people to believe the entire film was a dream is the same scene that is rendered irrelevant by subscribing to such a theory.
This post was edited on 7/20/10 at 10:05 am
Posted on 7/20/10 at 10:04 am to Geauxldineye
I thought the parallels between the characters and the symbolism of dream architype was strong, never thought about the parallels between the characters and how they relate to film production.
quote:
Leonardo DiCaprio - who was important in helping Nolan get the script to the final stages - compares the movie not to The Matrix or some other mindfrick movie but Fellini's 8 1/2. This is probably the second most telling thing DiCaprio said during the publicity tour for the film, with the first being that he based Cobb on Nolan. 8 1/2 is totally autobiographical for Fellini, and it's all about an Italian director trying to overcome his block and make a movie (a science fiction movie, even). It's a film about filmmaking, and so is Inception.
quote:
The heist team quite neatly maps to major players in a film production. Cobb is the director while Arthur, the guy who does the research and who sets up the places to sleep, is the producer. Ariadne, the dream architect, is the screenwriter - she creates the world that will be entered. Eames is the actor (this is so obvious that the character sits at an old fashioned mirrored vanity, the type which stage actors would use). Yusuf is the technical guy; remember, the Oscar come from the Academy of Motion Picture Arts and Sciences, and it requires a good number of technically minded people to get a movie off the ground. Nolan himself more or less explains this in the latest issue of Film Comment, saying 'There are a lot of striking similarities [between what the team does and the putting on of a major Hollywood movie]. When for instance the team is out on the street they've created, surveying it, that's really identical with what we do on tech scouts before we shoot.'
quote:
That leaves two key figures. Saito is the money guy, the big corporate suit who fancies himself a part of the game. And Fischer, the mark, is the audience. Cobb, as a director, takes Fischer through an engaging, stimulating and exciting journey, one that leads him to an understanding about himself. Cobb is the big time movie director (or rather the best version of that - certainly not a Michael Bay) who brings the action, who brings the spectacle, but who also brings the meaning and the humanity and the emotion.
This post was edited on 7/20/10 at 10:06 am
Posted on 7/20/10 at 10:15 am to Cs
quote:
Because if the whole thing was a dream, then we really don't know how totems work (as that article stated), thereby making that final scene completely meaningless.
Not at all. The totem could just be a ruse. It doesn't make the effect any less important. What if we are supposed to surmise that parts of the film happened in someone else's dream? Caine's perhaps?
Posted on 7/20/10 at 11:25 am to Freauxzen
quote:You keep saying this, and I keep refuting it. It does not mean this, as we also learned that the totem is only useful if no one knows its unique properties. Cobb's totem is A) someone else's totem and B) explained to Ariadne, a third party. It in no way violates the rules established regarding totems.
This would mean everything we know about totems is irrelevant, thus making the ending insignificant.
quote:
What if we are supposed to surmise that parts of the film happened in someone else's dream? Caine's perhaps?
We never see Cobb sleep. It could be his as well, if we go with the "it was all a dream" angle. It also makes sense for it to be Cobb's as no one else would have to share his dream for eternity.
Posted on 7/20/10 at 11:30 am to Baloo
quote:
We never see Cobb sleep. It could be his as well, if we go with the "it was all a dream" angle. It also makes sense for it to be Cobb's as no one else would have to share his dream for eternity.
I meant parts, not the whole thing, since it was established that you can move into the dreams of others within other dreams. Confusing.
I'm just trying to argue that the movie is open to quite a bit of interpretation either way. There is no one answer.
Posted on 7/20/10 at 11:44 am to Freauxzen
I agree it can be interpreted multiple ways. I think most people have agreed on that here.
Posted on 7/20/10 at 1:34 pm to Baloo
I finally got to see it yesterday. First movie I've been motivated to see at the movies in quite some time. The discussion in this thread is very advanced and already beyond my fleeting memory of some of the early scenes, so I definitely need to see it again. Here's the few questions that I had:
1)Michael Caine - how/why was he at the airport in LA at the end? We are to assume that he was just told about the whole thing by Leo? And how did Leo actually get on the plane in the first place? Saito owning the airline doesn't mean you don't have to go through foreign customs or whatever. I'm pretty sure that when you leave Paris, you have to go through some separate US thing first.
So does that mean that Michael Caine was perhaps the mastermind of the whole thing? That ties in with my second question:
2)It nagged in the back of my mind during the entire film how quickly Juno got on board. Leo goes to Caine and says "I need a new architect". After a feeble, perfunctory "you can't do that", Caine immediately presents on a platter the best architect of all time. And this young white female doesn't seem even slightly fazed about jumping on board an illegal operation.
3)At LAX - was it my imagination, or was everyone looking at Leo...a la we are still in a dream?
4)Why wasn't Saito's mind permanently scrambled by the extreme aging in limbo? (i.e. he woke right up and made the phone call)
I thought the movie was awesome and cements Nolan's rightful place as our best modern director (and that is without including the Batman movies). Only a genius can bring you Memento, The Prestige and now Inception. Prestige is still my favorite, but Inception was great. I know it will only improve on further viewings.
1)Michael Caine - how/why was he at the airport in LA at the end? We are to assume that he was just told about the whole thing by Leo? And how did Leo actually get on the plane in the first place? Saito owning the airline doesn't mean you don't have to go through foreign customs or whatever. I'm pretty sure that when you leave Paris, you have to go through some separate US thing first.
So does that mean that Michael Caine was perhaps the mastermind of the whole thing? That ties in with my second question:
2)It nagged in the back of my mind during the entire film how quickly Juno got on board. Leo goes to Caine and says "I need a new architect". After a feeble, perfunctory "you can't do that", Caine immediately presents on a platter the best architect of all time. And this young white female doesn't seem even slightly fazed about jumping on board an illegal operation.
3)At LAX - was it my imagination, or was everyone looking at Leo...a la we are still in a dream?
4)Why wasn't Saito's mind permanently scrambled by the extreme aging in limbo? (i.e. he woke right up and made the phone call)
I thought the movie was awesome and cements Nolan's rightful place as our best modern director (and that is without including the Batman movies). Only a genius can bring you Memento, The Prestige and now Inception. Prestige is still my favorite, but Inception was great. I know it will only improve on further viewings.
Posted on 7/20/10 at 1:40 pm to Tiger JJ
quote:
1)Michael Caine - how/why was he at the airport in LA at the end?
I actually point to this as support for it being a dream at the end. Makes sense that way. Doesn't make sense any other way. Except for what he says, that is a problem, imo.
quote:
2)It nagged in the back of my mind during the entire film how quickly Juno got on board. Leo goes to Caine and says "I need a new architect". After a feeble, perfunctory "you can't do that", Caine immediately presents on a platter the best architect of all time. And this young white female doesn't seem even slightly fazed about jumping on board an illegal operation.
Which can be interpreted that Caine was the Mastermind and the whole thing is a dream. This is a totally logical conclusion to the film.
quote:
3)At LAX - was it my imagination, or was everyone looking at Leo...a la we are still in a dream?
The stares were debated, maybe in this thread. Again, just fodder to be argued either way. Cs will say this was an internal nod to each other. I disagree.
quote:
4)Why wasn't Saito's mind permanently scrambled by the extreme aging in limbo? (i.e. he woke right up and made the phone call)
Good point. But the effects of limbo on someone who exits it are never explained.
Posted on 7/20/10 at 1:46 pm to Freauxzen
quote:
Good point. But the effects of limbo on someone who exits it are never explained.
Perhaps not explained, but I thought they were explicitly discussed - to the point that some of the team members who were in the dark were pissed off when they found out.
Posted on 7/20/10 at 1:49 pm to Tiger JJ
quote:
Perhaps not explained, but I thought they were explicitly discussed - to the point that some of the team members who were in the dark were pissed off when they found out.
It's supposed to be, "Once you enter limbo, you forget your are there and are stuck forever." They never get into what happens if you end up exiting, the indication at the end being Saito and Leo dying, which causes them to exit.
Posted on 7/20/10 at 1:50 pm to Tiger JJ
quote:Throw in her unexplained and borderline obsessive interest in Leo's memories and dreams, and that's why I have the theory she was brought on board to architect a dreamscape for Leo at the end, which will become his reality.
2)It nagged in the back of my mind during the entire film how quickly Juno got on board. Leo goes to Caine and says "I need a new architect". After a feeble, perfunctory "you can't do that", Caine immediately presents on a platter the best architect of all time. And this young white female doesn't seem even slightly fazed about jumping on board an illegal operation.
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