Inception is a 2010 British-American science fiction action heist film written, co-produced, and directed by Christopher Nolan. The film features an international ensemble cast including Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Cillian Murphy, Dileep Rao, Tom Berenger, and Michael Caine.
Because Nolan can't connect his visuals, he has to use words, and lots of them, to let us know what characters are doing and why we should care. Every scene is packed with helpful explanatory dialogue like "Killing him would just wake him up" and "Pain is in the mind." "A closed loop will help you control the levels of the dream you create," one character explains matter-of-factly to another, and she responds as if she's just heard the music of the spheres.
The visuals, shot by the gifted Wally Pfister on locations from the steaming heat of Morocco to the snow-capped Alps, are astounding. One segment, in which a freight train barrels through a traffic-clogged street, is jaw-dropping. Just as impressive is the way Nolan stays true to the rules of his own brain-teasing game. The film's demonstration of the three levels of dreaming is certain to inspire deep-dish discourse to rival the Lost finale.
“There can’t be anything in the film that tells you one way or another because then the ambiguity at the end of the film would just be a mistake,” he says. “It would represent a failure of the film to communicate something. But it’s not a mistake. I put that cut there at the end, imposing an ambiguity from outside the film. That always felt the right ending to me — it always felt like the appropriate ‘kick’ to me….The real point of the scene — and this is what I tell people — is that Cobb isn’t looking at the top. He’s looking at his kids. He’s left it behind. That’s the emotional significance of the thing.”
But there will be a videogame: “I always imagined Inception to be a world where a lot of other stories could take place,” says Nolan. “At the moment, the only direction we’re channeling that is by developing a videogame set in the world.” He declined to elaborate on details or time table, only to say that he was developing the game with a team of collaborators and that it was “a longer-term proposition.”
Its cryptic title and the fact that Nolan kept the plot a closely guarded secret from day one added to the speculation. Actors he was considering casting had to read the script in his office or have it hand-delivered to their homes where someone stood guard while they perused it. Even the visually dazzling but enigmatic trailer failed to explain exactly what the film was about.
“I was thinking along the lines of a horror movie at first, but it eventually became this project. I was looking for a device whereby the dreams would become important to the story, and the thought that someone could invade your dream space and steal an idea is immensely compelling to me. The concept that dreams feel real while we’re in them underlies the whole film.”
He came up with the idea 10 years ago and then, shortly after finishing Insomnia and long before Batman Begins and The Dark Knight made him one of Hollywood’s hottest directors, he wrote an 80-page treatment about dream-stealers.
I had tried to write it smaller, on the assumption I might not be able to secure the budget I needed. What I found is, it’s not possible to execute this concept in a small fashion. The reason is, as soon as you’re talking about dreams, the potential of the human mind is infinite. And so the scale of the film has to feel infinite. It has to feel like you could go absolutely anywhere by the end of the film. And it has to work on a massive scale.
Not weighed down by the comic-book mythology of the two “Batman” movies and given a reported $150-million budget for his original concept, writer-director Nolan is free to let his imagination soar on an epic scale.
Abetted by a world-class team of collaborators, he’s crafted an instant sci-fi classic that surpasses its most obvious recent influences, “Blade Runner” and “The Matrix.”
Using a combination of drugs, wires and other vaguely Matrix-y methods, Cobb and his co-workers penetrate the minds of their slumbering targets, usually for the purpose of extracting hidden information. But a wealthy client named Saito (Ken Watanabe) induces them to try the much more difficult trick known as inception, which involves planting an idea someone else’s mind that will bear fruit in the real world. “That’s impossible!” more than one person has occasion to exclaim.
The story can either be told in a few sentences, or not told at all. Here is a movie immune to spoilers: If you knew how it ended, that would tell you nothing unless you knew how it got there. And telling you how it got there would produce bafflement. The movie is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality.
Directed by Christopher Nolan of "Dark Knight" fame, the Leonardo DiCaprio vehicle has stimulated prerelease buzz simply on the basis of its A-list creatives. Which is fortunate, as the picture's cerebral mix of brain-teasing plot points and effects-driven fantasy defies easy characterization in a one-sheet tagline or even a trailer, judging from materials released to date. Its online campaign similarly is based more on tease than glimpses into the narrative.
'Inception' Trailer 2 HD
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