Information
| Year: | 2010 |
| Rating: | 9.1(183922) |
| Listed in: | Action, Mystery, Sci-Fi, Thriller |
| Directed by: | Christopher Nolan |
| Actors: | Leonardo DiCaprio Joseph Gordon-Levitt Tom Hardy Ken Watanabe Dileep Rao Ellen Page |
| "The dream is real." | |
Cast
| Directed by | |
|---|---|
| Christopher Nolan | |
| Actors | |
| Leonardo DiCaprio | as Cobb |
| Joseph Gordon-Levitt | as Arthur |
| Tom Hardy | as Eames |
| Ken Watanabe | as Saito |
| Dileep Rao | as Yusuf |
| Cillian Murphy | as Robert Fischer |
| Tom Berenger | as Peter Browning |
| Pete Postlethwaite | as Maurice Fischer |
| Michael Caine | as Miles |
| Lukas Haas | as Nash |
| Tai-Li Lee | as Tadashi |
| Magnus Nolan | as James (20 months) |
| Johnathan Geare | as James (3 years) |
| Tohoru Masamune | as Japanese Security Guard |
| Yuji Okumoto | as Saito's Attendant |
| Earl Cameron | as Elderly Bald Man |
| Ryan Hayward | as Lawyer |
| Russ Fega | as Cab Driver |
| Tim Kelleher | as Thin Man |
| Nicolas Clerc | as Bridge Sub Con |
| Virgile Bramly | as Bridge Sub Con |
| Jean-Michel Dagory | as Bridge Sub Con |
| Mark Fleischmann | as Penrose Sub Con |
| Jack Murray | as Bar Sub Con |
| Kraig Thornber | as Bar Sub Con |
| Marc Raducci | as Lobby Sub Con |
| Carl Gilliard | as Lobby Sub Con |
| Peter Basham | as Fischer's Jet Captain |
| Michael Gaston | as Immigration Officer |
| Felix Scott | as Businessman |
| Andrew Pleavin | as Businessman |
| Jason Tendell | as Fischer's Driver |
| Jack Gilroy | as Old Cobb |
| Michael August | as LAX Passenger |
| John Ceallach | as LAX Passenger |
| Adam Cole | as Bartender Sub Con |
| Daniel Girondeaud | as Bridge Sub Con |
| Alonzo F. Jones | as Mombasan Casino Staff |
| Mobin Khan | as Mombasa Casino Cashier |
| Scott Pretty | as Pedestrian |
| Benjamin Riley | as Bridge Sub Con |
| Norman Saleet | as Airport Patron |
| Jo Seong-Hwan | as Japanese Landing Crew |
| Affan Tareen | as Denison |
| Actresses | |
| Ellen Page | as Ariadne |
| Marion Cotillard | as Mal |
| Claire Geare | as Phillipa (3 years) |
| Taylor Geare | as Phillipa (5 years) |
| Miranda Nolan | as Flight Attendant |
| Talulah Riley | as Blonde |
| Coralie Dedykere | as Bridge Sub Con |
| Silvie Laguna | as Bridge Sub Con |
| Helena Cullinan | as Penrose Sub Con |
| Shelley Lang | as Penrose Sub Con |
| Angela Nathenson | as Bar Sub Con |
| Natasha Beaumont | as Bar Sub Con |
| Jill Maddrell | as Lobby Sub Con |
| Alex Lombard | as Lobby Sub Con |
| Nicole Pulliam | as Lobby Sub Con |
| Lisa Reynolds | as Private Nurse |
| Shannon Welles | as Old Mal |
| Youlanda Davis | as Mombasan Cashier |
| Natalie Nastulczykova | as LAX Passanger |
Movie info
| Languages: | English, Japanese, French |
| Filming dates: | 13 July 2009 - 22 November 2009 18 August 2009 - 19 August 2009 (rue Bouchut, Paris) |
| Budget: | USD 160,000,000 |
| Gross: |
USA - 62,785,337 USD (18 July 2010) UK - 5,912,814 GBP (18 July 2010) Philippines - 99,060,137 PHP (29 August 2010) Russia - 645,361,641 RUR (5 September 2010) |
| Plot: | Dom Cobb is able to use his unique skills to his advantage - he can enter people's minds through their dreams and thereby learn their secrets. He is a thief for hire but Japanese businessman Mr. Saito has a somewhat different proposition for him. He wants Cobb to enter the mind of Robert Fischer Jr., who is about to inherit his father's massive business empire, to plant a simple notion: to break-up his father's conglomerate and sell it off. In return, Saito will make it possible for Cobb to freely return to the US where he is currently wanted by the police. Cobb accepts and assembles his team with a plan to plant the idea deep in Fisher's mind by generating a series of dreams within dreams so that he eventually thinks he came up with the idea himself. As the intended deception grows ever more complex, Cobb has to deal with his own emotions and feelings of guilt, which are projecting themselves into the dreamspace. Cobb has to deal with the eventual question of what is real and what is only a dream. |
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Original Soundtracks
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"Non, Je Ne Regrette Rien" Written by Charles Dumont and Michel Vaucaire Performed by Édith Piaf Courtesy of EMI Music France Under license from EMI Film & Television Music "Aboun Salehoun" Written by Youssef El Mejjad and Pat Jabbar Performed by Amira Saqati Courtesy of Barraka el Farnatshi Productions |
Goofs
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Continuity: When the cab gets hit the first time the front grille with the Hyundai logo gets smashed in and disappears. In the second scene the grille reappears and the car has less damage than the scene before. And in the warehouse scene the grille disappears one final time. Continuity: When the white van emerges from the warehouse, the passenger side mirror strikes the warehouse door. However, in the next shot of van's exterior the passenger side mirror is fully extended. In subsequent shots the mirror is flipped back once more. Continuity: In the scene with the falling van, the sleeping Arthur is shown without the headphones originally placed on his head. Before the van hits the water, he's wearing the headphones again. Continuity: One car explosion shown twice. First is the shot of the car exploding in a fireball, filling the frame. Minutes later the same car is shown exploding in the same fireball, but as part of a bigger shot from further away, in the bottom half of the frame. Continuity: When Cobb and Ariadne are sitting at a café, her hand movements from shot to shot are out of sync, as she adjusts her hair or picks up her coffee cup. Continuity: In the scene where Eames is chasing down the Hummer with skiers trailing behind it, the number of skiers on the ropes alternates between five and six in different shots. Continuity: When Arthur collects Cobb in Tokyo, they leave the hotel room and go to the roof for the helicopter - it is clearly at night. When they are on the roof, it is already daylight. Continuity: When Cobb first meets Miles, there's a hair on Cobb's right shoulder that appears and reappears between cuts. Continuity: In the scene where Saito enters the helicopter and informs Cobb about the inception plan. In one shot, there is hard rain hitting the window in the helicopter. However, in a subsequent shot, there is no rain outside. Continuity: In the scenes where Arthur and Ariadne are looking at the hotel rooms in the second layer of dreams, Ariadne's bun keeps moving back and forth on her head. (In one scene, it is on top of her head, in the next, it is near the back, then moves up again.) Crew: When Fischer's cab is being hijacked, numerous production markings are visible on the street. Continuity: In the scene where Saito is defending Fischer, the ventilation cover is open after they enter through it, but closed when Saito is sitting next to it. The cover is open again when Saito throws the grenade into the ventilation shaft. FAIR: SPOILER: When Cobb and Mal commit suicide in front of the train, they look young, although we have been told that they had already spent decades in limbo by that point. This is deliberate, an artifact of Cobb's happy recollections. A later scene in which he reflects on their life together revisits this shot, and the actors are aged to show Cobb's corrected memory of the events. Continuity: In the first scene, when the guard says "he had only these", and places Cobb's gun and totem on the table, the totem is tilted with the longer end up and it is stable enough not to fall down. When Cobb is brought in, the totem is lying stable, with its long end down and short end up. Revealing mistakes: At the beginning and end of the film when Cobb meets Saito in limbo, the full-eye contacts to make Leonardo DiCaprio's and 'Ken Watanabe''s eyes look glossy and bloodshot are visible in the close-up shots. Continuity: During the scene where Ariadne and Cobb are sitting at a café a man in a yellow jacket passes by behind Ariadne. The camera then switches to Cobb. When it switches back to Ariadne you can see that the man in the background passes here once again, Revealing mistakes: When the team busts into room 528 in the hotel, the door opens fractionally before Cobb's foot hits it in the POV shot. Continuity: In the warehouse scene between Cobb and Ariadne, a Nikon DSLR camera is behind him on a desk. It disappears and reappears between shots. CHAR: Saito is the CEO of a large competitor to Fischer's corporation, however Fischer does not appear to recognize or acknowledge Saito both in his dream or on the plane. PLOT: While the van is falling, it's said that Arthur only have a couple of minutes to synchronize the kick; however, this time wouldn't enough to realize all the actions performed by Arthur (tie the dreamers together, beat the guards, call the elevator, cut the cables, put the bombs and explode them). Continuity: When Arthur is tying up the team in the hotel scene, you see that Eames' arms are tightly bound to his sides by the cord. When Arthur is pushing them down the corridors, Eames' arms are now floating freely. Then, when we see the view looking down into the elevator, his arms are once again bound tightly. Continuity: In the Kyoto hotel room scene, Cobb lies his pistol on a coffee table before answering his door. After he lets Arthur into the room, the pistol is no longer on the table, but Cobb removes the pistol from his belt then places it into his bag. FAIR: The immigration form Cobb is given in the plane towards the end of the movie is the white I-94 form given to those coming to the US on a visa. While it's true that US citizens need only fill out a smaller blue customs declaration form, Cobb clearly declines the form. FAIR: It is established that the sensation of falling triggers the sleeper to wake up (i.e. tripping the chair wakes the sleeper before hitting the ground). However, neither the van rolling over nor the van dropping from the bridge (nor the sensation of zero gravity in dream level 2) wakes the sleepers. This is because the sleepers were dreaming within their dreams, and had to get a kick from the lowest-level dream first to realize the upper-level kick. CHAR: Dom slipped the sedative into Fischer's drink on the plane. But since the stewardess was in on the plot, she could have slipped it in before with much less chance of detection. Revealing mistakes: When Saito uses his teeth to pull the safety pin from a fragmentation grenade (extremely difficult to do in reality) the safety level (also known as the "spoon") does not fly off and remains in place even after the grenade is thrown several feet into the opening of a vent. Fact errors: The characters dream while on a 10 hour flight from Sydney to Los Angeles on a Boeing 747; in reality, a 747 flight from Sydney to LAX takes at least 13.5 hours. Revealing mistakes: When Fischer opens the vault door after recovering from limbo the code he punches ends with digit 9 instead of 1 (528491). Continuity: Within the scene in which Saito asks Cobb to perform inception in the helicopter, Cobb exits the helicopter first and then Arthur. However, the cut immediately following shows Arthur in front of Cobb as they walk out. FAIR: When the bus on the bridge hits the guardrail, they continue flying horizontally for some time, but the passengers immediately lose gravity. This is correct: weightlessness is caused by acceleration, not by speed. Falling is a vertical acceleration, and gravity will immediately cause the bus to fall as soon as it is no longer supported by the bridge. Continuity: When the van is falling and cuts from several stages of the dreams and then back to the van. The van backtracks in several of the shots. Crew: In the hotel scene where Cobb confronts Mal in front of the open window with billowing curtains, a crew member's fingertips are seen through the sheer fabric. Continuity: In the shot where Arthur puts the cab in reverse and rams a bodyguard/projection the gun flies out of the victim's hand and falls a few feet away. In the next shot the gun is placed next to the dead body. Continuity: In the scene within the hotel bar, Dom is seated next to Fisher. A man/projection appears to be taking a seat a couple chairs down the bar. In the next shot the man cannot be seen where he should be. Continuity: Within the base, Mal shoots Fisher once. Later, Fisher's body is shown and he has two bullet holes in his chest. |
Quotes
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Cobb: Never recreate places from your memory. Always imagine new places! Cobb: [from trailer] Dreams feel real while we're in them. It's only when we wake up that we realize something was actually strange. Eames: [Shows up while Arthur is in a gunfight] You mustn't be afraid to dream a little bigger, darling. [Pulls out a grenade launcher] Professor: Mr. Cobb has a job offer he would like to discuss with you. Ariadne: Like a work placement? Cobb: Not exactly. Arthur: [From Trailer] I would hate to see you out of control. Cobb: [From Trailer] I can access your mind through your dreams. Cobb: [From Trailer] The seed that we planted in this man's mind may change everything. Arthur: [From Trailer] [to Cobb] You should walk away from this! Cobb: [From Trailer] You're asking me for Inception. I hope you do understand the gravity of that request. Yusuf: Dreams within dreams is too unstable! Eames: If we are gonna perform Inception then we need imagination. Cobb: I know how to find secrets from your Mind, I know all the tricks! Cobb: I'm just doing what you taught me. Professor: I never taught you to be a thief. Arthur: With the slightest disturbance, the dream's going to collapse. Yusuf: [after surviving a van crash] Did you see that? Cobb: You create the world of the dream. We bring the subject into that dream and fill it with their subconscious. Ariadne: How could I ever acquire enough detail to make them think that it's reality? Cobb: Our dreams, they feel real while we're in them right? Its only when we wake up then we realize that something was actually strange! Cobb: I think positive emotion trumps negative emotion every time. Cobb: For this to work, we'd have to buy off the pilots... Arthur: And we'd have to buy off the flight attendants... Saito: I bought the airline. [Everybody turns and stares at him. Saito just shrugs] It seemed neater. Arthur: Quick, give me a kiss! [She kisses him and then looks around] Ariadne: They're still looking at us. Arthur: Yeah, it's worth a shot. Mal: You're waiting for a train, a train that will take you far away. You know where you hope this train will take you, but you can't be sure. But it doesn't matter - because we'll be together. Ariadne: [contemplating her totem] An elegant solution for keeping track of reality. Mal: You keep telling yourself what you know. But what do you believe? What do you feel? Cobb: Guilt. Cobb: I miss you more than I can bear, but we had our time together. I have to let you go. Mal: If I jump, would I survive? Cobb: A clean dive, perhaps. Mal, what are you doing here? Mal: I thought you might be missing me. Cobb: You know I am but I can't trust you anymore. Mal: So what? Saito: You remind me of someone... a man I met in a half-remembered dream. He was possessed of some radical notions. [repeated line] Arthur: Paradox. Mal: Do you know what it is to be a lover? Half of a whole? Ariadne: I just want to understand. Ariadne: [Confused] Wait, whose subconscious are we going through exactly? Saito: Don't you want to take a leap of faith? Or become an old man, filled with regret, waiting to die alone! Cobb: She locked away a secret, deep inside herself, something she once knew to be true... but chose to forget. Cobb: I came here to tell you... something. [pause] Something that... you once knew to be true. Saito: [remembering] Impossible... Ariadne: Are these the 'experiments' you do every night? You're trying to keep her alive, aren't you? You can't just create a prison of memories. Do you really think that could contain her? Cobb: You were not supposed to see that! This has nothing to do with you! Ariadne: Nothing to do with me? We're supposed to be sharing dreams, here! Cobb: Not these. These are my dreams. Eames: I think I'm going to sit this one out on this level, boys. Ariadne: Why is it so important to dream? Cobb: Because, in my dreams we are together. Arthur: And I will lead them on a merry chase. Cobb: I can't stay with her anymore because she doesn't exist. Mal: I'm the only thing you do believe in anymore. Cobb: I wish. I wish more than anything. But I can't imagine you with all your complexity, all you perfection, all your imperfection. Look at you. You are just a shade of my real wife. You're the best I can do; but I'm sorry, you are just not good enough. Professor: Come back to reality, Dom. Fischer: [handing his abductors his wallet] There's five hundred dollars in there. And the wallet's worth more than that. Cobb: The moment's passed. Whatever I do I can't change this moment. I'm about to call out to them. They run away. If I'm ever going to see their faces I've gotta get back home. The real world. Ariadne: These aren't just dreams, these are memories and you said never to use memories! [Mal attacks Cobb and Ariadne; Cobb closes elevator door before Mal can reach them] Mal: You promised! You promised! Cobb: Please, I just have to keep you here, just for now. Mal: You said we'd be together! You said we'd grow old together! Cobb: I'll come back, I promise. [Mal glares at them] Cobb: You create the world of the dream, you bring the subject into that dream, and they fill it with their subconscious. Ariadne: How could I ever acquire enough detail to make them think that its reality? Cobb: Well dreams, they feel real while we're in them, right? It's only when we wake up that we realize how things are actually strange. Let me ask you a question, you, you never really remember the beginning of a dream do you? You always wind up right in the middle of what's going on. Ariadne: I guess, yeah. Cobb: So how did we end up here? Ariadne: Well we just came from the a... Cobb: Think about it Ariadne, how did you get here? Where are you right now? Ariadne: We're dreaming? Cobb: You're actually in the middle of the workshop right now, sleeping. This is your first lesson in shared dreaming. Stay calm. Cobb: I don't like trains. Cobb: [notices that he's being followed] That price on my head, was that dead or alive? Eames: Not sure. See if he starts shooting at you. Cobb: What do you want? Saito: Inception. Is it possible? Arthur: Of course not. Saito: If you can steal an idea, why can't you plant one there instead? Arthur: Okay, this is me, planting an idea in your mind. I say: don't think about elephants. What are you thinking about? Saito: Elephants? Arthur: Right, but it's not your idea. The dreamer can always remember the genesis of the idea. True inspiration is impossible to fake. Cobb: No, it's not. Mal: Your world is not real! Arthur: Eames, I am impressed. Eames: Your condescension is always much appreciated, Arthur. Thank you. Ariadne: You mind telling your subconscious to take it easy? Cobb: I need to get home. That's all I care about right now. Ariadne: Why can't you go home? Cobb: Because they think I killed her. Ariadne: [silence] Cobb: Thank you. Ariadne: For what? Cobb: For not asking whether I did. Ariadne: Cobb, I'm coming with you. Cobb: I promised Miles... Ariadne: The team needs someone who understands what you're struggling with. And it doesn't have to be me, but then you have to show Arthur what I just saw. Cobb: [to Saito] Get us another seat on the plane. Fischer: After my mother died, you know what he told me? "Robert, there's really nothing to be said." Peter Browning: He was bad with emotions. Fischer: I was eleven. Arthur: What about his security? It's gonna get worse as we go deeper. Cobb: I think we run with Mr. Charles. Arthur: No. Eames: Who's Mr. Charles? Arthur: Bad idea. Cobb: The second we get in that hotel with Fischer, his security is gonna be all over us. We run with Mr. Charles like we did on the Stein job. Eames: So you've done it before? Arthur: Yeah, and it didn't work. The subject realized he was dreaming and his subconscious tore us to pieces. Cobb: Eventually, She tells me the truth that she was possessed by an idea, just one simple idea that changed everything, that our world wasn't real and in order to get back to the reality, We'll have to kill ourselves. Arthur: So, a totem. It's a small object, potentially heavy, something you can have on you all the time... Ariadne: What, like a coin? Arthur: No, it has to be more unique than that, like - this is a loaded die. [Ariadne reaches out to take the die] . Nah, I can't let you touch it, that would defeat the purpose. See only I know the balance and weight of this particular loaded die. That way when you look at your totem, you know beyond a doubt you're not in someone else's dream. Saito: I'll come back and we'll be young men together again. Cobb: I knew Inception was possible because I'd done it to my wife. Mal: Tell me, do the children miss me? Cobb: Oh, I can't imagine... Mal: What are you doing here? Ariadne: My name is... Mal: I know who you are. What are you doing here? Ariadne: I'm just trying to understand... Mal: How could you understand? Do you know what it is to be a lover? To be half of a whole? Ariadne: No... Mal: I'll tell you a riddle. You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you can't be sure. But it doesn't matter. How can it not matter to you where this train will take you? Cobb: Because you'll be together. Cobb: I will split up my father's empire. Now this is obviously an idea that Robert Fischer will choose to reject - which is why we need to plant it deep in his subconscious. Subconscious is fueled by emotion, right? Not reason. We need a find a way to translate this into an emotional concept. Arthur: How do you translate a business strategy into an emotion? Cobb: Well, that's what we're here to figure out, right? Now Fischer's relationship with his father is stressed, to say the least... Eames: Well, can we run with that? Suggest splitting up the empire as a "screw-you" to the old man? Cobb: No, cause I think positive emotion trumps negative emotion every time. We all crave reconciliation - we're catharsis. We need Robert Fischer to have a positive emotional reaction to all this. Eames: Alright, well try this. My father accepts that I want to create for myself, not follow in his footsteps. Cobb: That might work. Arthur: Might? We're gonna need to do a little better than might. Eames: Oh, thank you for your contribution, Arthur! Arthur: Forgive me for wanting a little specificity. [Eames appears confused at the word] Specificity? Eames: Do they come here to sleep? Thin Man: [Looking at Cobb] No, They come here to be woken up. Dream has become their reality! Who are you to say, otherwise? Cobb: [over the phone] How are you, huh? How are you doing? James: Okay, I guess. Cobb: Who's just okay? Is that you, James? James: Yeah. Is Mommy with you? Cobb: James, we talked about this. Mommy's not here anymore. James: Where? Mal: We'd be together forever. You promised me. Cobb: I know. But we can't. And I'm sorry. Mal: You remember when you asked me to marry you? You said you dreamt that we'd grow old together. Cobb: And we did... I miss you more than I can bear... but we had our time together. And now I have to let go... Mal: Tell me, do the children miss me? Cobb: I can't imagine... Cobb: [Repeated Lines] You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you can't be sure. Yet it doesn't matter. Now, tell me why? Mal: Because, We'll be together! Cobb: What is the most resilient parasite? Bacteria? A virus? An intestinal worm? An idea. Resilient... highly contagious. Once an idea has taken hold of the brain it's almost impossible to eradicate. An idea that is fully formed - fully understood - that sticks; right in there somewhere. Saito: So have you come to kill me? I've been waiting for someone to come for me... Cobb: Someone from a half remembered dream... Saito: Cobb? Impossible - He and I were young men together, now I'm an old man. Cobb: Filled with regret... Saito: Waiting to die alone... Cobb: I've come back to remind you of something... something you once knew... [Sees the top spinning without end] that this world isn't real... Saito: To convince me to honor the arrangement. Cobb: To take a leap of faith yes. Come back, and we'll be young men together again. Come back to me... [Saito reaches for the gun] Come back... Arthur: What happened to you? Cobb: Got blocked by a train. Arthur: Why would you put a freight train in the middle of a street? Ariadne: I didn't. Arthur: Then why was it there? Cobb: Let me ask you a question, why the hell were we ambushed? Those were not normal projections, they've been trained for God's sake! Ariadne: Trained? How could they be trained? Arthur: Fischer's had an extractor train his subconscious to defend itself. It should have showed in the research I'm sorry. Mal: You're infecting my mind! Cobb: I was trying to save you. Mal: You betrayed me, but you can still make amends. You can still keep your promise. We can still be together, right here. In the world we built together. |
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