hell_awaits656
New member
Would love to see Chris Nolan direct a Bond Film
southerncross440
New member
That was just one level. She also created the city-scape with the van level, and the hotel level.
In general, only the host could populate the dream-scape. In the top level, the host was Fisher.
Not anything is possible. Eames probably requested the architect put that gun in for him when she designed the level. Most of the physical structure was preset. That's why they couldn't just create a new route through the snow citadel; they had to find an existing one. (Fortunately the architect had provided for such an eventuality.) Similarly, when they miss the kick, the chap in the hotel has to improvise with the lift; he can't just imagine up what he neeRAB.
Much in the dream world is controlled by their sub-conscience. Presumably after living for 50 subjective years, that's how old it felt they ought to look.
In The Matrix it's called "residual self-image". It just happens; Neo doesn't consciously choose it, and in fact he asks Morpheus why he looks like that. The dream worlRAB are even less controlled than the Matrix.
In The Matrix it's called "residual self-image". It just happens; Neo doesn't consciously choose it, and in fact he asks Morpheus why he looks like that. The dream worlRAB are even less controlled than the Matrix.
blue eyed beauty
New member
but looks incredibly awesome. especially the city folding on itself
driedhumor
New member
Finally got round to seeing this last night. Impressive film, densely plotted but not impossible to follow, full of enough ideas for a series of movies let alone one. It didn't feel like two and a half hours either as the strength of the plot and the layer-upon-layer structure meant you had to concentrate to keep up.
Apart from Cobb though, the characters were completely two-dimensional. You didn't actually learn anything about any of them in terms of background and motivation. Even Fischer was thinly sketched even though the film was set in his mind. The characters were there merely to serve the plot and showcase the ideas. It is interesting that none of Nolan's films even try to work on an emotional level. Fanboys might claim they find them emotional but Nolan clearly isn't pursuing or interested in that kind of audience reaction. He is focussed on expressing ideas & playing with audience expectations. The heart of the film is not the characters but the complexities of the plot and the world the film exists in. The tone reminded me a lot of The Prestige (which I preferred).
It was interesting that Nolan chose to injure Saito and not any of the others. He knew that the characters were so thinly-sketched that we wouldn't really care if any of them were in jeopardy. Note how there was no emotional focus on Saito dying. No scene with someone explaining what was happening to him. Nolan just wasn't interested. Saito was there purely to set the story in motion.
Ok, fanboys would say that the whole Cobb/wife/children angle was the emotional heart of the film. I personally didn't find it convincing and I think the key point is that, at the end, it doesn't really matter whether Cobb is in reality or limbo. It doesn't matter whether he was genuinely reunited with his children or not. The point about the ending is that it is a very clever trick, not an emotional resolution.
In a film without much humour, the ending is the biggest joke. But it's a joke played on the audience. Those last few seconRAB played brillliantly with the audience but it was just play, just a trick. On the way out, the general consensus in our group was that it was a very clever, entertaining film but it was all on the surface. If you could turn the film on its side as you could the dream world, you would find that the apparent depth didn't really exist at all.
Apart from Cobb though, the characters were completely two-dimensional. You didn't actually learn anything about any of them in terms of background and motivation. Even Fischer was thinly sketched even though the film was set in his mind. The characters were there merely to serve the plot and showcase the ideas. It is interesting that none of Nolan's films even try to work on an emotional level. Fanboys might claim they find them emotional but Nolan clearly isn't pursuing or interested in that kind of audience reaction. He is focussed on expressing ideas & playing with audience expectations. The heart of the film is not the characters but the complexities of the plot and the world the film exists in. The tone reminded me a lot of The Prestige (which I preferred).
It was interesting that Nolan chose to injure Saito and not any of the others. He knew that the characters were so thinly-sketched that we wouldn't really care if any of them were in jeopardy. Note how there was no emotional focus on Saito dying. No scene with someone explaining what was happening to him. Nolan just wasn't interested. Saito was there purely to set the story in motion.
Ok, fanboys would say that the whole Cobb/wife/children angle was the emotional heart of the film. I personally didn't find it convincing and I think the key point is that, at the end, it doesn't really matter whether Cobb is in reality or limbo. It doesn't matter whether he was genuinely reunited with his children or not. The point about the ending is that it is a very clever trick, not an emotional resolution.
In a film without much humour, the ending is the biggest joke. But it's a joke played on the audience. Those last few seconRAB played brillliantly with the audience but it was just play, just a trick. On the way out, the general consensus in our group was that it was a very clever, entertaining film but it was all on the surface. If you could turn the film on its side as you could the dream world, you would find that the apparent depth didn't really exist at all.
justinclayjr
New member
Its getting better, now Nolan is ripping off Bond as well trying to audition to make one :yawn:
Smokinbiker
New member
Opinions are like arseholes; everyone has one. Build a bridge and get over it 
Alapa on Ellen Director
New member
Just saw this for the first time, fantastic, the sound and music were brilliant.
Was expecting a 'Shutter Island' moment at the end (ie everything you have seen up to now is actually the alternate reality) which would have disappointed me somewhat, but no, great, loved it.
And virtually no swearing, that makes a refreshing change.
Was expecting a 'Shutter Island' moment at the end (ie everything you have seen up to now is actually the alternate reality) which would have disappointed me somewhat, but no, great, loved it.
And virtually no swearing, that makes a refreshing change.
sharkbait_hoo_haa_haa291
New member
I'm sorry but I have to disagree with the whole Nolan doesn't care about depth or characters. But I guess that is just one of the ways opinion works.
I especially disagree with the Fischer character being very thinly sketched. I thought Cillian Murphy did brilliant and he made what possibly could of been a very one dimensional character depth and emotion.
I especially disagree with the Fischer character being very thinly sketched. I thought Cillian Murphy did brilliant and he made what possibly could of been a very one dimensional character depth and emotion.
liveyourlifex3
New member
That was for when the first teaser and official website was released. No-one knew what it was