Inception

Saito was ready to do anything to prevent Fischer's Company of becoming A Superpower !
So that 's something different....and Cob was the only on he knew that could deliver in that short amount of time ...so he took a leap of faith with Cob !
 
coddida said:
Inception ruined in three frames: http://i.imgur.com/JiPqw.jpg
Click to expand...


Haha hilarious comic.

But seriously, it'd be kidnapping, as the grandma would be the legal guardian and didn't even want to speak with Cobb on the phone.

Plus the dangers of Cobb's job (ie: getting chased around in Mombassa) implies without Saito's protection and influence, Cobb wouldn't be able to live a normal life where-ever he was.

Actually thinking back, it's more than likely than after the credits roll, Cobb is thrown out of the house by granma and he goes and cries outside the doorstep...
 
Lammy said:
Haha hilarious comic.

But seriously, it'd be kidnapping, as the grandma would be the legal guardian and didn't even want to speak with Cobb on the phone.

Plus the dangers of Cobb's job (ie: getting chased around in Mombassa) implies without Saito's protection and influence, Cobb wouldn't be able to live a normal life where-ever he was.

Actually thinking back, it's more than likely than after the credits roll, Cobb is thrown out of the house by granma and he goes and cries outside the doorstep...
Click to expand...


that hurts totally overlooked my post !:violin:
 
Yeah, so the only reason why Saito chose Cobb to do the job was because of a "leap of faith". But that is really just lazy explanation that comes after the matter of fact.

Like-wise, it would be boring if Nolan fleshed it out too much if he showed Saito in a board meeting and discussing the pros/cons of each dream thief but ending up using Cobb anyway.

It would have made more sense of Cobb was successful in extracting information Saito, and not being caught out despite the dream training and Mal interfering. Then Saito picks him because he passed the audition process, as opposed to saying he failed? "Hi, you failed. And your architect is rubbish. You got the job anyway!" Confusing and convoluted logic there...
 
Ok let me see ...Superpower vs DP'ing a movie, aah Superpower vs designing a building !

Becoming an Energy Superpower is like owning everything on the planet.... maybe godlike
DOP and architects are a dime a dozen and Extractors are just well not to many according to the movie...so Cob was Saito's or the world's only hope of preventing Fischer's Company to evolve in to a Superpower.


When your dreaming almost anything feels like it makes sense doesn't it ?
Only when you wake and think about your realise how silly it is.
 
Finally saw it. Great Summer film. Not sure if its an Oscar calibre film, but great entertainment and acting. In fact, I think this was Di Caprio's best performance since the Aviator.

The Good

Story- Fresh, fresh fresh, indeed. Memento taken to the next level.

Acting- Excellent performances, with one exception.

Photography- Great lighting and sets, everything worked to convey the dream world.

The bad- The architect girl- man is she in a completely different league from the rest of the cast. She struggled throughout the film, was not believable at all to the point of being distracting.

Too much action- As interesting as the story and plot was, the gun fighting, the brawls, car chases sometimes just felt too forced. Explosions, slow motion and effects for effects sake.

Easy way out- This is very subjective, and a very personal opinion, but IMO the ending was an "easy way out" for the director to explain the unexplainable of his plot. With that ending, everything is possible and everything is open to interpretation- interesting, opens debate, makes you want to revisit the film, but can also be considered "lazy". Anyway, I liked the ending. But I have still to revisit the film to see if it leaves up to second viewing.
 
Wow! That is brilliant. Thanks for sharing that. I might play with that kind of thinking with some of the scoring I am doing!
 
Kholi said:
And I am definitely more inspired than ever to get a move on.
Click to expand...

I think this is the one thing I have some sentiment with which to reply.

This film has really shaken the foundations for me. I know I'm probably a young gun on these boards and haven't seen quite so many movies as others (apparently people harbor an immeasurable number of movies a film student "must" see to be credible), but Inception changed my thinking and kinda lit a fire under my seat.

Instead of thinking of all the things I can't do, probably can't do, probably won't do, the sky is the limit once again, and I feel like a little kid getting my first camera all over again.

Everyone should and will take away a unique experience from this film. Feeling like a good neighborly Dvxuser, I'm just sharing mine.

And I need to get a move on...
 
Brandon Rice said:
I think the same thing... which makes my point of not caring even stronger... I don't know... it just didn't work for me on any kind of emotional level... maybe because I'm only 25?
Click to expand...

I'm 21, and I was riveted to my seat for all 3 viewings.

To each his/her own experience, and no filmmaker will ever entirely please an audience from seat to seat, most ESPECIALLY an audience of film-makers, students, and enthusiasts :)


I think with what we should credit Nolan is this right here: our time spent deep in discussion about his film. How many filmmakers get THAT kind of attention these days? James Cameron could learn a lot from Nolan...
 
Everts said:
There are two jump cuts in the movie .....one of them I believe was on purpose.
Click to expand...

There is one cut in the whole movie and a separate exchange of dialog that bothered me, almost taking me out of the film:

1)When Browning-who's-actually-Eams and Fischer Jr. are escaping from the sinking van, they walk/swim toward the beach, moving Screen Right to Left. Then the next shot they're sitting down on Screen Left facing Right.

The movement in the first shot jars me from the steadiness of the next. It's a big jump in screen direction. I can't really blame the editors for that, because the whole film was so well edited that it would appear they were working with the best they had. This one could be on Nolan!

2)Directly after that scene, Arthur and Ariadne escape from the van and rest on a rock. All good editing, except their dialog kinda irks me. It's something like (not verbatim):

Arthur: "So Cobb stayed with Mal?"
Ariadne: "No, to get Saito."
Arthur: "Hopefully he won't get lost."
Ariadne (in exactly the same inflection as her previous line): "NO, he'll be alright."

Again, this sounds to be not like bad writing but more like editors having to work with the best they have. It's possible those two lines of hers could be from completely different takes and she improvised the "No." Or lines might have been cut in their conversation for the sake of time but rendered a slightly robotic Ariadne.


For some reason, I enjoy the editing of a film more when I am but occasionally reminded that it is an edited work, like the few discontinuities in The Departed or the fact that in The Dark Knight, when The Joker shoots out the window behind him while holding Rachel, the shot of him holding her and the shot of the glass breaking and him taking her to the window are completely different takes, but it's so creative and awesome and resourceful.

Wow, it's late and I'm still reading this forum...
 
Jawa Ex Machina said:
Ariadne, after the Greek princess who helped Theseus through the maze with the Minotaur in Greek mythology.

How's that for ripping off The Matrix, giving the characters names from mythologies like that? :grin:
Click to expand...

I actually thought this was really clever of Nolan. It wasn't as blunt as calling a strongman in a movie Hercules, a party-goer Dionysus, or a beautiful woman Aphrodite.

Only those who know The Legend of the Minotaur will know the significance of her name.


And technically it was Minoan mythology!
 
jscottprice said:
apparently people harbor an immeasurable number of movies a film student "must" see to be credible
Click to expand...

Think of it this way: if someone is going to go much of anywhere in the field of literature, you would probably expect them to have read some books. Probably including a number of books that are considered 'canonical' in the body of ancient and modern literature. After all, writers learn a proportion of their craft via reading.

If someone is going after an education in cinema, you would likewise expect them to view some films, and there is a collection of films considered 'canonical' in the body of film making because they established and developed the still-evolving language of cinema.

I'm not sure that I would base my opinion of someone's credibility upon whether or not they have seen, say, The Treasure of the Sierra Madre or A Touch of Evil or M, but without a grounding in historical film making I don't think I'd call a given aspiring film maker particularly well educated.

re: mythology stories are told and re-told and re-told again; that's not really a rip-off - and if it is, it's not a rip-off of The Matrix but rather of the original source material.

There's a formidable character in one of my screenplays named Briar, a man who killed his father at the direction of his mother, a crime boss who has 'eyes and ears everywhere -' that's a more-or-less direct lift from Greek mythology in terms of the character's background and name, but frankly I'd be pleasantly surprised if anyone here can name the mythical figure by whom Briar is inspired...
 
As a hard core Nolan fan I've been dreading seeing Inception but I'm glad to say
it was not as bad as the trailers led me to believe.

It's a shame that Nolan 'the writer' has taken over to the detriment of the characters.
The convolutions of the plot left no space for the characters to breath and come to life. I miss
the Nolan of the old days that made Memento and The Prestige.
 
You must log in or register to reply here.
Back
Top