Inception

[blackmirror]

I was dreaming when I wrote this, so sue me if I go too fast...

[picolas]

whoa, cheers. and how the eff did you get the text to fade like that??

[modage]

^^ click "Quote" for details.

Also:

[Pubrick]

Haha check out the lines around Yusuf's crotch.

Whoever made that is a genius.

That should come as an insert on the dvd. (Remember inserts?)

[picolas]

i like this one too

(SPOILS)

[ElPandaRoyal]

So, is the last one Cobb's dream or a shared state? Not that I particularly care for the movie, but still.

[socketlevel]

i was referring to the moment saito interrupted cobb's spin.

i'm not going to spend any more time trying to compel you to enjoy this movie and/or accept the fact that other people enjoy analyzing it. just read P's reaction you seem to have skipped over.

fair enough, though i don't need you to compel me to accept the fact that other people enjoy analyzing it. i'm already sure they do and never claimed otherwise.

and i do enjoy this movie! lol i stated that a few times. my experience in the theatre ending at enjoyment was kind of my point.

[socketlevel]

^^ click "Quote" for details.

Also:

this is a really cool poster, I've always dug this kind of schematic/airline help brochure aesthetic.

[Gamblour.]

So, is the last one Cobb's dream or a shared state? Not that I particularly care for the movie, but still.

That's a very good question. I thought they were in Limbo when he meets with Mal, but that doesn't make any sense if you think about it. Do we ever see Limbo? Are there are any real consequences to Limbo?

[RegularKarate]

Limbo is a blank slate unless one of the team has been there before, then it's based in the world they created while there.

SPOILERS
Pic's poster has it wrong.  I still think "Level 1" is part of the dream.  I think it's Miles' dream (maybe).
I'm also starting to think Ariadne is Nash.

[blackmirror]

...and how the eff did you get the text to fade like that??

!

I cannot reveal all of my secrets...

[OrHowILearnedTo]

My initial response was similar to Blackmirror's in that I think Inception was essentially about the moviewatching experience, and the Filmmaking experience, and the connection between them. Nolan takes his oppourtunity after the success of The Dark Night to write a great big thank you letter to Cinema and the Lover's of Cinema. He delivers to the audience everything we love; Big action with draw dropping effects, a touch of romance and drama, and as seen with pretty much everyone who's seen the movie, a debatable paradox. Was it all a dream? Was it all real? Oh, I'll never tell! People love this stuff, and Nolan wants knows it. I think the film, and it's ending, are not serious questions about the dreamstate or however you interpret it, but is about generating the exact response it's getting; audience members creating theories and meanings, blogging/posting/facebooking it, and getting excited to talk about movies again. Thus, any meaning from the film is created after the fact BY YOU THE AUDIENCE. Nolan gives enough evidence, some specific, some broad, to illicit many interpretations of the film, and really isn't that what every filmmaker is doing? Now, if this is Nolan's true intention it could be interpreted as just an ambiguous, hollow trick, and is really an insult to the audience. Personally I think it's beautiful that people I know aren't interested in movies beyond the summer blockbusters, are actually seriously considering the film, and that the conversation is going further than "cool" or "badass," and that they love doing it. People love talking about this film. These are the same people who loved Transformers, but never got past "And that one scene where the Robot fucked shit up!" or "Megan Fox is sooo hot i want to sex her" but here with Inception are creating and discussing their own ideas of what the film means. Although, I'll admit almost all these discussions are about whether it was all a dream or not, but still.

And Nolan didn't just make this film for us too. This is a very personal film, and not personal in the dealing with some sort of anguish way (which doesn't necessarily = personal, but come on, when described as personal that's what we generally think of), though he may or may not be using it to deal with some father issues. What I mean though is Christopher Nolan loves movies, and for him Inception is about his filmmaking career. The Mountain section really reminded me of Batman Begins, which is a somewhat interesting reversal for what was a training ground in that film, is the climax in this one. Other moments that I can't recall atm made me think of the Prestige and of Memento. Adrianne's first dream with Cobb really reminded me of Following. This could be because going into inception I know who Cristopher Nolan is and have seen his films, I can predict his storytelling style and connect it to his past films. It could also be these little kicks, if you will, are intentionally placed by Nolan because he want's to express that making the film's he has have been like a dream to him. He pays homage to himself not to be self indulgent, but to show his gratitude to everyone that has made his dreams come true, in the biggest film of hi career so far. It also What I really love, and what I feel legitimizes the film, is how original it is. For Nolan to really pay his respect's to his craft and to the audience, his Blockbuster of Blockbusters MUST be a completely original Idea. Inception wouldn't hold the weight it does (at least not in my mind, or in relation to my current reaction to it) if it had been a comic book adaption or a superhero franchise. No. This is a one time film, a one time event. Hopefully, as pointed out earlier, this will lead to more original, ambitious, stand alone films ideas to get made. But, also as pointed out, it probably won't. Oh well. We'll always have Inception, I guess.

In conclusion, Christopher Nolan mindfucked me.

Also, I just realized that Blackmirror didn't really say any of what I was saying, although I do agree with him mostly.

Oh No ! It's Happening!!!!!!!!!!!!

[modage]

Hans Zimmer Extracts the Secrets of the 'Inception' Score
Source: NYTimes

Having systematically picked apart the critical arguments for and against Christopher Nolan's film "Inception" and the many possible meanings of that dream-within-a-dream-within-a-dream caper, the Web this week went another level deeper on the movie by focusing on its music.

In recent days Internet denizens have gotten very excited about a viral video (posted above) that compares the Édith Piaf song "Non, je ne regrette rien" to Hans Zimmer's score for the movie. When the video's pseudonymous author, camiam321, plays the key musical cue from that score – two ominous blares from a brass section – followed by a slowed-down version of the Piaf song (which the "Inception" characters play at regular speed as a warning to wake up from a dream state), they sound nearly identical.

In a telephone interview, Mr. Zimmer, a film composer and producer who won an Academy Award for his music for "The Lion King" and was nominated for films including "Rain Man" and "Gladiator," said the sonic similarity was not only intentional but the one element of an enigmatic movie "that wasn't supposed to be a secret."

Speaking of the viral video, Mr. Zimmer excitedly said, "I've seen it. I've seen it. I was surprised how long it took them to figure it out."

The musical cue, Mr. Zimmer said, "was our big signpost" in the film of its characters' moving from one level of dreaming (or reality) into another. "It was like a drawing of a huge finger," he said, "saying, O.K., different time."

Mr. Zimmer said the idea for this musical game began with Mr. Nolan, the film's director and writer.

"He had the Edith Piaf always written in the script, the 'da-da, da-da,'" he said, imitating the cadence of that song. "It was like huge foghorns over a city and afterward you would maybe figure out that they were related."

Technically, Mr. Zimmer said, his score is not a slowing-down of the French song, which was composed by Charles Dumont and recorded by Piaf in 1960, but is constructed from a single manipulated beat from it.

"I had to go and extract these two notes out of a recording," Mr. Zimmer said, using a little bit of "Inception" lingo. "I love technology, so it was a lot of fun for me to go and get the original master out of the French national archives. And then find some crazy scientist in France who would actually go and take that one cell out of the DNA."

"Just for the game of it," Mr. Zimmer said, "all the music in the score is subdivisions and multiplications of the tempo of the Edith Piaf track. So I could slip into half-time; I could slip into a third of a time. Anything could go anywhere. At any moment I could drop into a different level of time."

In this sense, the score is Mr. Zimmer's personal interpretation of "Inception," which many viewers have read as a commentary on the nebulous boundary between dreaming and reality.

"Everybody thinks the dream is the important part," Mr. Zimmer said. "For me, the time was the important part – the idea that, in a peculiar way, Chris had made a time-travel movie that actually worked."

Mr. Zimmer, who in 2008 was briefly excluded from an Oscar nomination for the score to "The Dark Knight" that was deemed to have too many composers (the Academy of Motion Picture Arts and Sciences eventually reversed itself and allowed him and a co-composer, James Newton Howard, to compete for the award), said he had no idea how awards bodies would react to his "Inception" score's incorporation of the Piaf track.

"I didn't use the song – I only used one note," Mr. Zimmer said. "But look, I so couldn't care less about awards. I know I'm not supposed to say this, but when you work with Chris Nolan, when you work on a movie like 'Inception,' it's for the adventure."

[blackmirror]

Oh No ! It's Happening!!!!!!!!!!!!

And, so it is!

(my respects for figuring out the code, kind sir)

. . . if we are going to perform Inception then we need imagination.

[Pubrick]

Oh No ! It's Happening!!!!!!!!!!!!

And, so it is!

(my respects for figuring out the code, kind sir)

. . . if we are going to perform Inception then we need imagination.

Dude, as modage said, all anyone has to do is quote you to see how you did it.