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Inception

65K views 486 replies 146 participants last post by  muffinmcfluffin 
#1 ·









December 6th UK


Triple play edition in both the briefcase and standard editions


Quote:
Maximum Movie Mode: Christopher Nolan and Leonardo DiCaprio extract information about the world of Inception and learn about all things you may have missed in the film. Questions, answers, surprises and intrigue are all there for the taking!


Prologue (Motion Comics): Inception: The Cobol Job: Online comic that details how Cobb, Arthur and Nash came to be enlisted by Cobol Engineering to perform an extraction on Saito.


Inception: The Big Under: The story that reveals how Cobb and company get to Saito to put him under for the dream featured in the beginning of the film. Dream of Consciousness: Taking some of the most fascination and cutting-edge dream research to date on lucid dreaming, leading scientist to make the case that the dream world is not an altered state of consciousness, but a fully functional parallel reality.


15 Focus Pods


Photo gallery

http://www.blu-ray.com/news/?id=5088




American details






Quote:
Extraction Mode: infiltrate the dreamscape of Inception – with this in-movie experience – to learn how Christopher Nolan, Leonardo DiCaprio and the rest of the cast and crew designed and achieved the movies signature moments.

Dreams: Cinema of the Subconscious: taking some of the most fascinating and cutting-edge dream research to-date on lucid dreaming, top scientists make the case that the dream world is not an altered state of consciousness, but a fully functional parallel reality.

Inception: The Cobol Job: now in full animation and motion, check out this comic prologue to see how Cobb, Arthur, and Nash came to be enlisted by Cobol Engineering and perform an extraction on Saito.

5.1 Soundtrack selections from Hans Zimmer's score

Conceptual art gallery

Promotional art archive

Trailers

TV spots

BD-Live

Project Somnacin: Confidential Files: get access to the highly secure files that reveal the inception of the dream-share technology.
 
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#402 ·

Quote:
Originally Posted by chucklee /forum/post/19622732


I suppose you could classify it as "ridiculous" - I think it works great with the story, and helps to ramp up the intensity...

Oh it's ridiculous. Every piece is a bombastic seemingly endless crescendo.


Thanks for the South Park tip. I loved the special dream operative they brought in at the end.
 
#404 ·

Quote:
Originally Posted by shesha /forum/post/19615481


IMHO------this is the best new movie I have seen in a long long time.


Where it stands in my top 10 I'll see in a few years. This movie exceeded the hype for me.


I don't get how anyone could comment that its just "ok".

This is 10/10.

Agreed. I saw it twice in the theater. The first time, upon being asked how was the movie, without even thinking about it, I replied, "It's a masterpiece."


I still feel that way.
 
#405 ·

Quote:
Originally Posted by x43x /forum/post/19627588


Ridiculously awesome.

I agree. I put the soundtrack on my mp3 player months ago and it makes ordinary moments seem much more interesting during my runs on the street. An old lady walking down the avenue or a car approaching as "Half Remembered Dream" or "Mombassa" are reaching crescendos makes everyday moments transcend the ordinary and move into sublime territory. Hey, at least it takes my mind off my aching feet!
 
#407 ·
Yes. Worst soft shot on this movie:

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show)




I always blamed the projectionist in the theaters for not getting Arthur's head in focus at all, but it was all for naught.


On that same token, here are the most beautiful shots:







 
#408 ·

Quote:
Originally Posted by muffinmcfluffin /forum/post/19628050


Yes. Worst soft shot on this movie:

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show)




I always blamed the projectionist in the theaters for not getting Arthur's head in focus at all, but it was all for naught.


On that same token, here are the most beautiful shots:



PIX

You can really tell the Vistvision shots
 
#411 ·
Wally Pfister and Chris Nolan HATE the DI process. They love photochemical timing. They are always a ton of soft shots in their movies because they don't go the digital route. The exceptions are the VistaVision shots (because they'll still retain a lot of resolution) and any shots that have to go the DI route for visual effects.


There were a number of shots with horribly clipped black levels because that's simply how they were filmed. They're movies certainly look more "filmic," so it's a trade off. In general, I like the look of Nolan films (minus the lack of sharpness) simply because they don't look like The Taking of Pelham 1-2-3. A lot of Hollywood movies go silly overboard in color correction.


EDIT: IMDb indicates that 65mm was used in a few places.
 
#412 ·
This disc looks and sounds quite good. One question:

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) In the movie's first sequence, we get Drenched Cobb and Old Saito at the table chatting. Then suddenly it's Middle-aged Saito and Dry Cobb, and the mini-heist sequence unfolds.


I know we come back to the drenched Cobb and Old Saito scene at movie's end, when it's been (more or less) explained, but I was just wondering how the positioning of the initial Old Saito/Drenched Cobb scene at the beginning can make sense.



Thoughts?
 
#413 ·

Quote:
Originally Posted by Penman /forum/post/19632867


This disc looks and sounds quite good. One question:

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) In the movie's first sequence, we get Drenched Cobb and Old Saito at the table chatting. Then suddenly it's Middle-aged Saito and Dry Cobb, and the mini-heist sequence unfolds.


I know we come back to the drenched Cobb and Old Saito scene at movie's end, when it's been (more or less) explained, but I was just wondering how the positioning of the initial Old Saito/Drenched Cobb scene at the beginning can make sense.



Thoughts?

Nolan has done that in 3 or 4 of his other films (start with a scene near the end or at the end, and then go to the beginning, and then show how we got to that scene). It's a technique called 'in media res.' At first, I analyzed it and thought about it like you are, and then I remembered that Nolan likes doing that and I stopped thinking about it.


I really don't think it was done for any other reason other than to confuse us and start the next scene 'in media res,' too - just like all dreams seem to start.
 
#414 ·

Quote:
Originally Posted by DeAd MiKe 187 /forum/post/19632927


Nolan has done that in 3 or 4 of his other films (start with a scene near the end or at the end, and then go to the beginning, and then show how we got to that scene). It's a technique called 'in media res.' At first, I analyzed it and thought about it like you are, and then I remembered that Nolan likes doing that and I stopped thinking about it.


I really don't think it was done for any other reason other than to confuse us and start the next scene 'in media res,' too - just like all dreams seem to start.
Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) I would have liked to think that way as well, but then I realized that they are indeed different scenes just from dialogue alone.
 
#415 ·

Quote:
Originally Posted by muffinmcfluffin /forum/post/19633020

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) I would have liked to think that way as well, but then I realized that they are indeed different scenes just from dialogue alone.

It just seems like neither scene has the 'entire' scene in it, and that bits were left out of both scenes so it wouldn't be as repetitive. That's why the second time we see it, we don't hear the dialog from the guards, etc.
 
#416 ·
Thanks, DeadMike.

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) The Drenched Cobb/Old Saito confrontation happens while they're dreaming on the 747, so it is a tad sloppy/misleading for Nolan to fuse it seamlessly with the Saito "test" heist, which happens while Cobb, Saito, et al., are on the bullet train.



But I'll try to take your advice and not think about it.
 
#417 ·

Quote:
Originally Posted by Penman /forum/post/19633056


Thanks, DeadMike.

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) The Drenched Cobb/Old Saito confrontation happens while they're dreaming on the 747, so it is a tad sloppy/misleading for Nolan to fuse it as part of the Saito "test" heist, which happens while Cobb, Saito, et al., are on the bullet train.



But I'll try to take your advice and not think about it.

Haha! By all means, analyze it if you wish (this is, after all, a fun film to analyze), but I just don't see what Nolan would be trying to accomplish if the scene was not simple 'in media res.' I just remember my feeling when the scene switched from old to young. I was like, "Uhhh... What!?" And then when the scene happened again at the end, I was like, "Ohhhhhhhh! I see what they did there."
 
#418 ·

Quote:
Originally Posted by DeAd MiKe 187 /forum/post/19633035


It just seems like neither scene has the 'entire' scene in it, and that bits were left out of both scenes so it wouldn't be as repetitive. That's why the second time we see it, we don't hear the dialog from the guards, etc.

Again, that's what I thought as well, but there are differences.

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) In the beginning, I believe Saito asks, "Have you come to kill me?" In the end, he asks, "Are you here to kill me?" In the beginning, Saito says the "half-remembered dream" line, and in the end Cobb says it. I know they skip some parts (and in a way they kind of jump to the last part that they were at at the beginning, for the end), but they are indeed different.


And yet, no one will really ever know why. It's strange how that works.
 
#419 ·

Quote:
Originally Posted by muffinmcfluffin /forum/post/19633332


Again, that's what I thought as well, but there are differences.

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) In the beginning, I believe Saito asks, "Have you come to kill me?" In the end, he asks, "Are you here to kill me?" In the beginning, Saito says the "half-remembered dream" line, and in the end Cobb says it. I know they skip some parts (and in a way they kind of jump to the last part that they were at at the beginning, for the end), but they are indeed different.


And yet, no one will really ever know why. It's strange how that works.

Yeah. Reminds me of the famous line from 'Pulp Fiction' (which I can't repeat due to all of the curse words) being one way in the opening scene, and very different once we actually get to that scene at the end of the movie. I don't know why this stuff happens...
 
#420 ·

Quote:
Originally Posted by DeAd MiKe 187 /forum/post/19633365


Yeah. Reminds me of the famous line from 'Pulp Fiction' (which I can't repeat due to all of the curse words) being one way in the opening scene, and very different once we actually get to that scene at the end of the movie. I don't know why this stuff happens...

Nolan did it for a reason, but I'm trying my best to connect the dots. Whatever the case, it probably has everything to do with the answer to the question people might as at the very end of the movie as well.


In a way, we were nearly given a double feature solely based on how that question is answered. That answer will change how you would view the entire movie as we know it, including the scene(s) we're mentioning.


BTW I got those lines reversed in the beginning and ending part, my bad.
 
#421 ·
Quote:
Originally Posted by muffinmcfluffin
In a way, we were nearly given a double feature solely based on how that question is answered. That answer will change how you would view the entire movie as we know it, including the scene(s) we're mentioning.
Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) For a little while, I thought that Cobb was actually in limbo the entire movie, using projections he created in order to help him find peace. I thought this way because the first scene showed Saito picking up Cobb's totem, and then the jump cut to young Saito - I believed this is where Saito had tricked Cobb into thinking that Cobb was in control when Saito really was, or something like that. I thought that Saito's line to Cobb, "take a leap of faith," which is also something that Mal told Cobb when she jumped off of the building might have meant that Cobb was still dreaming.


I then thought that the Cobol agents in Mombassa were more projections, and so on and so forth. I thought that Mal and Cobb never really left limbo at least, not that layer of it. When Mal jumped off the building, she gave herself the very same "kick" that Ariadne improvised later on in the movie. Mal was right about still being in the dream world. Cobb was still engulfed in limbo and didn't realize it. When Cobb and Mal had killed themselves with the train, they simply moved one layer deeper just like Saito did when he was killed, Fischer did when he was killed, and so on (this happens again at the end of the film when Saito picks up the gun in front of Cobb). I remembered Ariadne giving herself the 'kick' when she was in limbo, and thought, hey, maybe Mal did the same thing.


At the end of the movie, Cobb fixes his eyes on his children and the totem begins to lose speed - this is because inception has worked - Cobb truly believes he is in the real world. His totem will not spin like it did in the dream, not as long as he has his kids. The title of the film is now shown to us, making complete sense because the title was really Cobb's journey through his own mind: INCEPTION


But... I stopped thinking this. I actually have a more thought out theory, this is just snippets... But, I think it's far too complicated. Plus, Nolan implies in interviews that Cobb wasn't dreaming at the end, which if true, makes Saito's changed line from the beginning and the end irrelevant, no?


Eh... so confusing.
 
#423 ·
Quote:
Originally Posted by Penman
This disc looks and sounds quite good. One question:

Warning: Spoiler! (Click to show) Spoiler  
Warning: Spoiler! (Click to show) In the movie's first sequence, we get Drenched Cobb and Old Saito at the table chatting. Then suddenly it's Middle-aged Saito and Dry Cobb, and the mini-heist sequence unfolds.


I know we come back to the drenched Cobb and Old Saito scene at movie's end, when it's been (more or less) explained, but I was just wondering how the positioning of the initial Old Saito/Drenched Cobb scene at the beginning can make sense.



Thoughts?
Not sure, but the mini heist sequence and the Saito/Dreched Cobb scene were not in the first draft.
 
#426 ·
Finally saw it last nite. Wanted to save this for my home theater and boy was it worth it. Masterpieice that needs to be watched again and again as the details are so vague unlike Shutter Island where it is much more overt to the viewer when watched a 2nd time. It's very much in the vein of Memento in directorial style and visual storytelling. In Memento Nolan threw in some "hints" that looked to be throwaway scenes that really explained the whole movie and I was looking for it in this movie and he didn't disappoint because there is one throwaway scene in Inception (have to watch it again to see if there were "hints" that I missed) that pretty much explains everything and was just as insignificant as it was in Memento. Nolan is very consistent in his style and I knew that scene was coming so I was looking for it.


Look at the brief scene where Cobb and his wife are elderly and walking down the street with thier backs to us near the end of the movie. It's only lasts for about 3 seconds but just look at the height difference between the two. Also explains Nolan's casting choices. Also look at the writing on the blackboard (if your TV is big enough) behind Michael Caine when he is talking to Cobb near the beginning of the movie in a vital scene. It's neither French nor English nor any discernible letters. It's appears to be complete jibberish. Remember the attention to detail by the architect comment as was mentioned in the rug scene. With Nolan every piece of dialogue is very important as it may hint at future events. I also loved the clever use of imagery of when Cobb is on the run and he tries to get thru that narrow alleyway and almost gets stuck (ie: the walls are closing in on you, common dream scenario)


BTW how do you post spoilers so I can be less vague about this.
 
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