Latest / All The Right Movies / Inception (2010) | Ep. 4 - Part 1

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Inception (2010) | Ep. 4 - Part 1 · All The Right Movies

• 0:04
  All the right movies. What's the most resilient
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  parasite? An idea.
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  An idea can transform the world and rewrite all the rules, which
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  is why. I have to steal it.
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  Never recreate from your memory. Always imagine new places.
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  He's hiding something and we need to find out what that is.
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  We got to break out of here. Give.
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  Him the kick this one. 'S.
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  Not a part of the plane. Wake me out.
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  Wake Me Out, Christopher Nolan's Inception
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  was released in 2010 to a critical and commercial response
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  rarely afforded summer blockbusters.
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  A time twisting tale of my manipulation in Dream Theft.
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  It was an instant classic, a box office smash, and cemented Nolan
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  State as the biggest event movie maker this century.
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  My name is John and I'm here with Matt.
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  Forgive me for wanting a little specificity games specificity.
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  And Westie. You mustn't be afraid to dream a
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  little bigger, darling. We get reality.
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  All the right movies are talking paradoxes, subconscious security
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  and inception. It's perfectly possible.
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  It's just bloody difficult. Hello and welcome to All the
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  Right Movies. A podcast within a podcast
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  within a podcast within a podcast.
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  I'm lost already on classic and hit films.
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  Today we're looking at Christopher Nolan's time
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  bending, mind bending inception. And as ever, we'll have laughs
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  and opinions that are a dream come true as we bring you the
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  making of story behind a modern science fiction classic.
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  Just before we start off, for anybody that doesn't know, all
• 2:27
  the Right movies are on Patreon. So if you like our podcast and
• 2:31
  would like access to bonus episodes and our full archive of
• 2:34
  all their episodes, you should check out patreon.com/all the
• 2:38
  Right Movies. Yes, it definitely should, yeah.
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  Lots of good stuff on there. So back to reality.
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  Its inception. Why are we talking about the
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  film Westie? Is it Chris Nolan's best film?
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  I think it is. Is it one of my favorite films?
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  It definitely is. Is it still really engaging now,
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  10 years later? Of course it is.
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  It's about psychology, it's about architecture, it's about
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  artwork, it's about Francis Baig and MCS.
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  It's got red wine in it, it's got salad in it.
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  It's got expensive watches in it.
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  It's got gunfights in it. It's got suits in it.
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  It's got fistfights in it. It's got an ambiguous end in it.
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  It looks excellent, looks really expensive, and I'm very excited
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  about this. That's it.
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  That's the podcast, don't I think, isn't it?
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  And if you'd like to tune in next week?
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  Well, for me, I like pretty much everything Nolan's done, and
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  Inception is no exception to that.
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  It has just about everything I want in a blockbuster, to be
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  honest. High concept, which seems crazy
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  on the surface, but it's grounded in some sort of reality
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  and logic. It has personal, unrelatable
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  character drama to make you care about the spectacle when it
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  arrives. And boy, does that spectacle
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  arrive. We have not one, but two, count
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  them, two revolving sets in Inception.
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  Yeah, it's crazy. It's small, there's some
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  impressive filmmaking going on. It's hugely ambitious.
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  And because of all that, there is lots to get into.
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  Oh. Yeah.
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  And Matt, what about you? Yeah.
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  So when this came out, it's fair to say that me and Wesley were
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  very, very excited about it. Yeah, I remember that.
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  Wesley still is. Obviously, yeah.
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  Can you tell? And we have plans to go see it
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  on opening day. But for whatever reason, we
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  couldn't get our Diaries to sync up.
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  I think I was working. So I said Wesley, you just go
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  see it, but let me know as soon as you're out.
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  We weren't that busy 10 years ago when you're.
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  Well, something was going on. Couple of social butterflies.
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  I didn't even have a diary. So he sends me the text after
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  saying that all that text said was top 10.
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  Yeah. Same shit now.
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  He hasn't changed listener, so I want to see if it's still in his
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  top ten. But on a personal level, I mean,
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  this film has so much ambition and it has so much scale and
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  it's event cinema. And this just saw a few films
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  that when you come out of them, you would happily go straight
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  back in and watch it all over again just to see how it all
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  comes together. And it's got that little
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  sprinkling of ambiguity in there as well.
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  And I can't wait to get into it. It's absolutely massive.
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  Sprinkling It's a punch in the face, but we'll get to that.
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  Before we go down below the key deals on the movie, the
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  Inception was produced by Legendary Pictures and Syncope,
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  distributed by Warner Brothers and released on July 16th, 2010.
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  Written and directed by Christopher Nolan, produced by
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  Nolan and Emma Thomas, it was filmed in Tokyo, the UK, France,
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  Morocco, Canada and the US and the main cast Leonardo DiCaprio,
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  Joseph Gordon Levitt, Ellen Page, Tom Hardy, Marion
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  Cotillard, Ken Watanabe, Killian Murphy and Michael Caine.
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  Obviously, obviously. Should we head into Nolan's
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  dream world then? Yeah, let's go for it.
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  OK. We're talking the start of
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  Inception and that's coming up next.
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  Good night, boys. Dramatic, the music and
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  inception. Isn't it?
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  Yeah, of course it is. That ramps the tension up
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  exactly when it needs to, and then it's really a motive when
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  it needs to be. It's just how big it is.
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  Deciding that the concept of Inception wasn't confusing
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  enough, Northern starts the movie where it ends and we see
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  Leonardo Dicaprio's Dom Cobb trying to extract info from the
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  dreams of Ken Watanabe's Saito in an action-packed opener.
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  We're going to talk about Cobb recruiting his team after Saito
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  hires him, but we're starting with that opening sequence.
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  The beginning of Inception introduces us to subconscious
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  security and dream theft, as well as two of our main
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  characters in Cobb and Joseph Gordon Levitt's author.
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  So, Westie, how was this for an opening sequence?
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  Oh, it's supervenant. I mean, from the opening shot,
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  just that close up of the water and the soundtrack.
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  When I saw this in IMAX, I was just immediately saw the shot of
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  the ocean and I was like, well, this is massive even from a
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  close up and that lovely set. And you just think this has got
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  such an elegance to it. It's got such a grandeur to it.
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  It's such a huge scale. And when Moles, then she's
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  looking at the painting, which was done by Francis Bacon, which
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  I mentioned at the top, that was painted for his ex lover who
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  died and he wanted to keep him in his reality, so he made that
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  payment for him. So that's the significance of
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  that. And one of the coolest things
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  that I've seen, I've never seen in any film since or before is
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  DiCaprio catching them shells so they don't make any noise into
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  the further dream state, you know, and he's shooting the gun
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  and he's just catching that. I was like, that's just fucking
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  cool. As ice pops.
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  It's a really brilliant, brilliant opening.
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  I agree. I think it's really, really good
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  as well. I think one of the purposes of
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  an opening sequence is to almost encapsulate the film as a whole,
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  to set our expectation for what's coming.
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  An Inception does that great narratively, it moves like a
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  rocket. You need to pay attention to
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  every frame, every line, or you're lost.
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  When the spectacle comes, it's big and it's inventive, and
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  there's enough exposition in this 1st 15 minutes to power an
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  entire film. And we get introduced to Carb
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  Arthur, Sightwood Mall. So this opening sets audience
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  expectation for what's to come perfectly, all the while being
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  interesting and exciting. I'm in right from the off.
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  Yeah, definitely. Yeah, it's a great opening,
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  isn't it? Because right from the start,
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  Nolan is pretty much daring yet to keep up with him.
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  You know, he's not going to give you the same piece of
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  information twice. You know, I don't mind
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  admitting. I think it was probably my third
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  viewing of this that I finally realised what the significance
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  is of that line about the rug. Yeah.
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  Yeah. First couple, I was like, why?
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  Why is he going on about a rug? Because, I mean, it's not The
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  Big Lebowski, you know, do not, do not get the importance of
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  that. It's not tying this room
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  together. I'll tell you that one.
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  Tying these dreams together. So I love all that.
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  I love how he's just straight in there.
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  Keep up with him if you can. And what I really, really get
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  out of the sequence and it always just makes me happy
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  seeing it is how lo fi everything seems for this
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  massive concept, like to wake to cap you up, that slow, more shot
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  of him tied to a chair falling backwards into a bath of water.
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  It's so ingenious, but it's so simple.
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  And I just love how the kit itself, it just comes in a
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  suitcase. They're not in like cryogenic
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  tubes or a chamber or something like that.
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  All you need is in a suitcase and they can go off on their
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  own. It all seems very kind of low.
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  Fine, I love that. Yeah, the suitcase thing is so
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  simple. That's surely called the dream
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  machine, surely. Got to be it's not made by
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  Tommy. It's a bit more serious than
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  that. But this opening sequence is the
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  point in the film that we meet a major character in Saito, played
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  by Ken Watanabe. He sets a story in motion by
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  asking Cobb to perform Inception on his business rival Robert
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  Fischer, played by Killian Murphy, and offering Cobb a way
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  back home to his children. If he succeeds, how do you think
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  Ken Watanabe does? Is Saito in the film?
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  I think he's great. I think he's totally believable.
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  He's got such an elegance to the character that you just you kind
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  of believe his position and he's just got that real kind of power
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  and a real pro S to him. And I love like the all the
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  makeup and everything and the way he's aged.
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  And then when he acts that again, that's really believable.
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  So he brings this real weight again to the character, which
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  really works. To answer your question, yeah,
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  won't now be fits in there absolutely perfectly.
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  In terms of Watanabe, I think he adds a certain weight to the
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  story and being Japanese adds to the feel of it being a James
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  Bond style globe crotting adventure.
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  I think I know that Nolan wrote the part of site it was
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  specifically for Watanabe because he felt that even though
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  Watanabe had been in Batman Begins, he didn't have as much
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  screen time as Nolan would have liked.
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  So yeah, I think he's a really good inclusion in the cast.
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  He just classes up the joint, doesn't he?
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  He really does. That man is so she a class and
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  he's no different here. I like how he's introduced and
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  you're not actually sure kind of what he is.
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  He seems like you could be a gangster with all those kind of
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  minions around him. The thing I find really
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  effective is how it sets him up. I feel like it's set him up for
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  you to believe that he's going to be the antagonist in this
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  film. I think you're supposed to doubt
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  whether he's going to follow through on this pledge to cop or
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  not. But as the film goes on, I think
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  he becomes really, really likeable, and he becomes such
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  like a main part of that group that when he gets injured in the
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  dream, I think you really want him to get out.
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  Nothing really cared about side or on that level.
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  Yeah, he's great. I really really like his
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  performance in this. From that surreal opener, Cobb
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  agrees to one last job and starts to recruit the rest of
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  the team who will help him and Arthur perform Inception in the
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  next few sequences. We head to Paris, then Kenya to
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  meet Ellen Pages, Ariadne and Tom Hardy's Eames.
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  What do we think of the scenes in Paris between Cobb and
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  Ariadne, first of all? The first thing that I think is
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  really impressive about this scene is how Nolan is playing
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  with film grammar. Because when he goes from
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  talking to Ariadne in the college and then to the dream,
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  it just feels like a totally normal cut you get in any other
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  film between scenes. Like if you think of Indiana
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  Jones, The Last Crusade, when Indy and Marcus have met Elsa,
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  and just tell them about the museum, which is in the show,
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  looks like library, and then it cuts them in the library, still
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  talking. You totally buy that.
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  That's his film grammar. That's how editing works.
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  But what Nolan does, he uses that, but then he turns it on
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  his head by telling you, well, actually, that has just cut us
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  to a dream. And just like Ariadne, you're
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  completely in the dark and artist saying it's so clever the
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  way he's done it. And I love how once she realizes
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  she's in the dream, she gets really like, giddy and excited
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  by the concept. And the camera becomes like a
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  bit more handheld, a bit more looser, like emphasizes,
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  actually, this is quite a dangerous thing she's being
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  sucked into. And she's kind of way overhead
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  despite all this talent she's got.
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  So I think it's a really, really effective way of introducing her
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  character and just explaining more about what she's going to
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  bring to the team. I think it's great.
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  Paris, or as Nolan calls it, Exposition City.
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  I'm not sure I've ever seen a sequence as much exposition
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  crammed into it as Carbon, Ariadne and Called The Dream,
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  but to be honest, I do think Nolan does it brilliantly.
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  If you're feeding a lot of exposition, I think you have to
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  justify it by making the scene visually interesting, which is
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  why we often see exposition in action scenes.
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  And this isn't an action scene and it's literally non-stop
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  expository dialogue for over 10 minutes.
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  But when you're talking about visually interesting, this is
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  just a master class. The moment our yard near turns
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  the city on top of itself is ridiculous.
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  One of the most recognizable images in the last 10 years.
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  And also The thing is Cobbs telling our yard near and us
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  about how it all works I just find fascinating.
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  I think this is one of my favorite exposition scenes.
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  Everyone's got a favorite exposition scene.
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  Right, of course. Top 10.
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  Yeah, it's superb. I love the way she does that
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  Drasti effect with the mirror on the bridge.
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  It still baffles me, mind. Like, where's the camera?
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  Or it just doesn't exist. It's superbly done, like you
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  say, when Paris comes in on itself, it reminds me of some of
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  the heavier influences on Nolan, which is Dark City.
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  I don't know if you've seen that and Cobb talk and Ariadne.
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  It reminds me of Morpheus talking to Neo when he's
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  explaining the Matrix. So all these different elements
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  are coming into play for me. That Cafe sequence is just out
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  of this world and the way they shot that, which is just so
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  impressive. The visual effects supervisor on
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  the film, Chris Cobald, who worked on The Dark Knight
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  trilogy, and his team used air cannons to send the objects
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  flying through the air. And then Wally Fister shot it
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  with six high speed cameras at 1500 frames a second.
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  Obviously, everything is normally shot 24 frames a
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  second, so you can imagine how many frames are running through
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  that camera. So then when you slow it down,
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  you just get that really super slow motion.
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  But then there was extra elements of CGI added just to
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  make it a little bit more flamboyant.
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  But I love that when she's just starting to freak out, you just
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  think, Jesus Christ, this could go anywhere.
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  I love it. Paris isn't just about dream
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  based exposition though. We've got character exposition
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  as well, so this is also the where we learn who Marl is.
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  Cobb's wife who killed herself because she thought she was in a
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  dream, played by Marion Courtyard.
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  I suppose Marl is the closest thing we get to an antagonist in
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  the film. I think she's fantastic.
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  Is that femme fatale figure? When you first see her, she's
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  almost like a Bond villain. She's always shot in everything.
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  I've seen her and she's fantastic.
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  I love her as an actress anyway. But what she brings to this
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  again is a real class, a real sense of regret for Cobb.
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  And I think you can see it straight away, and I think this
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  is what it's about. It's Cobb's inception, it's
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  about regret, it's about guilt. It's about forgiving yourself
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  and choosing a reality that you're happy with.
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  What you choose to be. Your reality is where you live.
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  And I think that's what this film's about.
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  Even though it's got this amazing subplot with Fisher, you
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  learn now it's all about Cobb. It's all about him getting over
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  this guilt, figuring out how to live his life.
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  There's a real expectation on her because if she doesn't
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  perform his story, his whole reason for going through all of
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  this shit doesn't make sense. But she does.
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  She lands every single emotional blow and I think she's fucking
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  brilliant. Yeah, she's superb, considering
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  you could argue she's not even a character, she's just a
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  manifestation of someone else's guilt.
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  And she still makes that wholly believable and fills it with so
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  much of her own kind of presence.
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  And as you say, she starts off is feeling like she's going to
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  be the antagonist that's just going to be this kind of
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  psychotic presence throughout the film.
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  But she brings so much guilt into that and so much regret and
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  so much tragedy that she becomes like a fully rounded character
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  in all. And right, You know, she goes
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  from being really alluring to really scare you.
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  Times like that scene where she comes out of the crowd in that
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  first stream and stabs Ariadne. Absolutely terrifying that.
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  I think there's probably like a wider argument about how much of
• 16:30
  A cliche it is to have the dead wife is the motivation for the
• 16:33
  main character, especially when Nolan uses it a lot in his
• 16:36
  films. He just looks that cliche.
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  If I was Amber Thomas Nolan's wife had to be a bit how much he
• 16:42
  loves dead wives. Yeah, he keeps going back there,
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  but she takes what could be a real cliche and just gives it so
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  much vitality. It's a great performance.
• 16:53
  Well, as good as she is, Marion Cordillard wasn't the first
• 16:55
  person Nolan asked to play a mile.
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  Do you know who was? I would guess Anne Hathaway just
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  because he likes chisel collection of actors, doesn't
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  he? It was Kate Winslet.
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  Oh nice. OK, right.
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  She actually turned the rule down because she said she
• 17:09
  couldn't see herself as the character.
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  What were you thought of that? I think there would have been
• 17:14
  too many comparisons to the reunited again after Titanic.
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  And they are great together, but I think they couldn't play a
• 17:21
  couple because it would always hark back to that.
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  And it would just create a different world in your head,
• 17:26
  really. If they survived the Titanic and
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  they had, you know, an argument as good as they are as actors as
• 17:34
  well, I think that's just too powerful culturally to try and
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  eliminate. So I think called the opposite
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  perfect choice. You'd have too many people
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  saying, oh, you know, Inception. It's like Jack's dying dream
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  isn't. It definitely.
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  Freezing to death. That's why the water comes in at
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  the start like he's washed. Yeah, sure.
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  It's like, exactly he made it. Yeah, normally made a stealth
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  sequel to Titanic. Yeah.
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  Yeah. No, you couldn't have had her in
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  there, as great as she is. When Kate Winslet turned it
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  down, though, I bet the studio were devastated.
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  Leo and Kate together again at last, I mean.
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  Yeah, So obviously, Nolan, he looks like this kind of small
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  collection of actors that he can rely on.
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  He keeps going back to them. So obviously you've got Michael
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  Kane in here for a bit of an extended cameo as Miles cop's
• 18:18
  father-in-law. And the scene between Cobb and
• 18:20
  Miles where he tells him to come back to reality, that's not
• 18:23
  actually set those short on location.
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  It's the architecture school at University College London, and
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  that's where Nolan actually studied and met his wife Emma
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  Thomas, who was also producer on this and many other Nolan's
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  films. Lovely.
• 18:37
  Always in there for Nolan, isn't he?
• 18:38
  Michael Caine. Loves it.
• 18:40
  Good luck child. Forget the ending of Inception,
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  the real question is, are we in a real Nolan film?
• 18:45
  Michael Caine is lying it. No, Dunkirk didn't exist.
• 18:53
  Following Paris, Cobb is off to Kenya to find his next team
• 18:55
  members. That's Eames and Yusuf, played
• 18:57
  by Dilly Brow. This sequence includes a foot
• 19:00
  chase through the streets where Cobb is attacked by Cobbl
• 19:02
  Engineering, who wants him after his failure in the opening.
• 19:05
  All the sounds of a frantic Hans Zima score.
• 19:08
  The setting is and the music is called Mombasa.
• 19:13
  I. Mean if you're being chased
• 19:20
  through the streets of Mombasa by Cobbl Engineering, this is
• 19:23
  the music you want Spearing you on, isn't it?
• 19:28
  Absolutely, definitely. Yeah.
• 19:29
  I'll just put headphones on if I was doing that, I had on a
• 19:33
  second. I continue.
• 19:36
  What do you think of this as an action scene?
• 19:38
  Like, it's a great action sequence.
• 19:39
  The Matrix has got a lot to answer for.
• 19:42
  There's the foot chase with the Agents chasing Neo kind of at
• 19:45
  the end of The Matrix, which I think it mirrors that really
• 19:48
  well. I think the overhead shots make
• 19:50
  it look like a maze. I think there's that theme going
• 19:52
  all the way through the film. I love the way that there's that
• 19:55
  narrow corridor, which again, I think Nolan just makes this into
• 19:58
  almost like a dream sequence in itself.
• 20:00
  To meet your question, is this reality or is this a dream?
• 20:03
  So it's just Nolan kind of fucking with you and just making
• 20:05
  this really interesting foot chase.
• 20:07
  I've never seen DiCaprio more desperate to get One Cup of
• 20:10
  coffee in all my life. What cafe?
• 20:14
  What cafe? These guys give him loads of
• 20:16
  shit. What for?
• 20:17
  He's just come in. He just wants a coffee.
• 20:18
  I know. Yeah, because.
• 20:19
  He. Yell at all his customers.
• 20:22
  He must do ridiculous. But what I do live in this
• 20:25
  sequence as well is the introduction of Hardy.
• 20:27
  I think Tom Hardy in this it's a superb performance.
• 20:30
  Even his dialogues just like normal speech.
• 20:33
  It's brilliant. And when he's like, there's a
• 20:35
  man here, Yousef, it's. Great.
• 20:37
  He's just great. He's like, what?
• 20:38
  Back here? Yeah.
• 20:40
  Yeah. OK, he's done great little
• 20:42
  lines. I love this whole sequence.
• 20:44
  He's got all them kind of real action elements to it.
• 20:47
  Yeah, it's wonderful. Yeah, I don't think Nolan is shy
• 20:50
  about his influence as Gizzy. Definitely Raiders in there.
• 20:53
  I think before the action started.
• 20:54
  Feels very much like Casablanca. Yeah.
• 20:57
  Like there could be in Rick's Cafe, you know, and people got
• 20:59
  to sound a shot there. But yeah, I've always loved that
• 21:02
  wall that seems to be getting more and more narrow, even
• 21:05
  though it shouldn't. Yeah, I think it's Nolan just
• 21:08
  looking at common film grammar stuff that we used to and think,
• 21:11
  well, hang on, if I'm making a story about are we in a dream?
• 21:14
  Are we not in a dream so much? This stuff is going to feel much
• 21:17
  more ambiguous than it would do normally because, yeah, in an
• 21:20
  ordinary film, I'm not going to question site or just pulling up
• 21:23
  out of nowhere. That happens in films.
• 21:24
  Yeah, that's fine. But here, you never know.
• 21:27
  Maybe it's not. Maybe this is all just a bit too
• 21:29
  convenient. So it just works on 2 levels.
• 21:32
  It's on that first level of just an action scene.
• 21:34
  Yeah, great. But look at that again.
• 21:36
  There's more going on there than you think there is.
• 21:39
  The question I've got as well is, like, we know when you're
• 21:40
  introduced to Hardy and he's rubbing them chips together, and
• 21:43
  then DiCaprio picks the top chip up and says, I see your spelling
• 21:45
  hasn't improved. So he's spelled Mombasa with two
• 21:48
  s s. So obviously he's forged the
• 21:49
  chips. Yeah.
• 21:50
  Yeah. But people are saying that one
• 21:51
  of them, Chips, is actually he's taught him.
• 21:54
  Cool. That's pretty cool.
• 21:56
  Could be really. Cool.
• 21:58
  And he's misspelled it because only he knows how he's
• 22:00
  misspelled it. Yeah, that makes sense.
• 22:03
  Yeah, yeah, it doesn't make sense.
• 22:04
  The first act of the film is pretty exceptional, inceptional
• 22:08
  if you like. John finished.
• 22:18
  Nolan, DiCaprio, Zimmer, all of their best and a beautiful
• 22:22
  French friend. Fatal.
• 22:23
  I must be dreaming. Or not.
• 22:29
  The director. Raring to go from a young age,
• 22:35
  the inception of Inception came to Christopher Nolan when he was
• 22:37
  just 16 and was in his subconscious ever since.
• 22:41
  The writer and director of Inception, it was a bit of a
• 22:43
  passion project for Nolan and entirely his vision.
• 22:46
  What are our thoughts on Christopher Nolan more generally
• 22:49
  to start with, aside from Inception?
• 22:51
  So Nolan 11 films, only one of those are actively disliked.
• 22:57
  So that's a pretty good rate. And he's one of the few
• 23:00
  directors where I will go see film on his name alone.
• 23:04
  You could give me a blind screen and I wouldn't even need to see
• 23:07
  a trailer. I wouldn't need to know a
• 23:08
  synopsis. I wouldn't need to know he's in
• 23:10
  it. Even what the title is to send
• 23:12
  me to Chris Nolan film and I'll be in there.
• 23:15
  And there's not many directors I would say that about.
• 23:17
  And all of his films, they've all got massive, massive
• 23:21
  ambition. Like I say, I don't like Inter
• 23:24
  Cellar, but I would never say it's not ambitious.
• 23:26
  And sometimes that ambition does exceed his grasp.
• 23:29
  But when it doesn't, and when he can meet the heights of what he
• 23:31
  wants to achieve with the film, you're going to get something
• 23:35
  really special. And I think that's where you go
• 23:37
  with Inception. Yeah, pretty much the same.
• 23:39
  I mean, I'm the same as Matt. We don't go and see every film
• 23:42
  together. Do me but.
• 23:43
  No, yeah, we're we're better nip that in the bud.
• 23:49
  You can see the seller, and I was a bit disappointed by that
• 23:51
  because what I love about Nolan is he's ethic and I love how he
• 23:53
  keeps everything. Everything has a reality to it.
• 23:56
  Everything has an explanation, Everything has a scientific
• 23:59
  reasoning. So you kind of just walk out and
• 24:01
  go, Oh well, that was bullshit. So I think with this, it's that
• 24:04
  ground and he's got that real dedication to the process.
• 24:08
  He's got a real dedication to the medium and he really
• 24:11
  respects film. And I think you'd be the same,
• 24:13
  like if you go over Chris Nolan's house and he makes your
• 24:16
  tea, like it's just going to be so fucking meticulous, isn't it?
• 24:19
  It's not going to be like beans on toast or something.
• 24:22
  It's going to be something like what Arthur's eaten on the
• 24:24
  plain. It's good, like a perfect salad
• 24:26
  and a perfect bowl. And it's going to be the right
• 24:28
  sized bowl and it's going to be the right fork, and it's going
• 24:30
  to be the perfect amount of dress.
• 24:31
  And it's just going to be right, you know, because he just
• 24:33
  believes in it. And I think he believes in
• 24:35
  cinema and he believes in the medium.
• 24:37
  And he's as close, I'll say it, I'm going to put it out there
• 24:40
  and I'm honestly going to say he's as close as anyone has got
• 24:43
  to be in Kubrick since Kubrick. Well, Claire, yeah, I think in
• 24:46
  the style it's massively influenced by 2001, isn't it?
• 24:49
  Oh, hugely. Oh yeah.
• 24:51
  Norman actually first pitched the idea of Inception to Warner
• 24:53
  Brothers after his third movie Insomnia way back in 2002.
• 24:57
  They loved the idea and gave it the go ahead on the back of an
• 25:00
  80 page treatment. Northern had you wanted to write
• 25:02
  the full script first, thought to ensure you kept as much
• 25:04
  creative control as possible and told them you'd show them a
• 25:07
  finished spec script in a couple of months.
• 25:09
  Sensible choice by Nolan. What do you think to finish the
• 25:12
  script first? I think so, yeah, specifically
• 25:15
  because of the high concept he's working with.
• 25:17
  You can't go in with us like half assed, you know?
• 25:19
  So there's going to be questions and you couldn't go.
• 25:21
  But I haven't worked that bit out yet.
• 25:23
  But don't worry, I'll be fine. He's got to have the answers,
• 25:25
  hasn't he? Well, plan for writing that
• 25:27
  script was shelf when Nolan was offered Batman Begins, the movie
• 25:30
  which changed his career. He kept on going back to the
• 25:32
  Inception script in between projects like The Prestige and
• 25:35
  The Dark Knight and finally gave a finished script to Warner in
• 25:37
  2009, which after the runaway success of The Dark Knight, they
• 25:42
  lapped up. So what do we think of Nolan's
• 25:45
  work on Inception as the director?
• 25:47
  I think the original script for this is going to be about 100
• 25:50
  times more complicated than the finished version of the film.
• 25:52
  Like, Can you imagine just his thoughts on a script?
• 25:55
  I think Chris Nolan probably woke up in the morning and be
• 25:57
  like Emma finished finished Inception.
• 25:59
  It's just like this massive Bible, and she's like going
• 26:03
  through it. She's like, fucking hell,
• 26:04
  Christmas, let's just break this down.
• 26:09
  And I think that Warners would have, just after The Dark
• 26:11
  Knight, you could have given them anything.
• 26:12
  He's like, I'm just going to do a Playmobil movie.
• 26:14
  Yeah, whatever. It could have been anything.
• 26:19
  So they would have read that as like, stereo instructions and
• 26:21
  just be like, well, if you can make that, fine.
• 26:23
  How much do you need? I think this is his most
• 26:25
  personal film. I think this is a film about his
• 26:27
  process, which we'll get into later.
• 26:29
  I do think this is about filmmaking.
• 26:31
  I do think it is about the impact of movies on the
• 26:33
  psychology of people, and I think only someone like Chris
• 26:36
  Nolan could do that with such a scholar's touch.
• 26:39
  I think he's got that. It always feels like when you
• 26:42
  finish watching these films and you understand them, like,
• 26:44
  someone's going to turn up and just give you a degree and just
• 26:46
  give you a scroll and just say, like, did you get that?
• 26:49
  Congratulations, you're in the club.
• 26:53
  Yeah, You're 70 times more intelligent than the average
• 26:55
  film wore Without being pretentious, though, without
• 26:59
  being a wanker about it. You just respect him for that
• 27:02
  because he just believes in what he believes in, and he delivers
• 27:04
  it, especially on this. I think this is his most
• 27:06
  accomplished film easily. Yeah, I think it's certainly
• 27:10
  among his best work. It looks great.
• 27:11
  Typical Nolan. Grandiose and huge, which is one
• 27:14
  of the things I love about him. He really commits to these crazy
• 27:17
  concepts and puts himself out there to be shot down if people
• 27:19
  don't like what he does. An Inception might be the best
• 27:22
  example of that. I like how because of the huge
• 27:24
  concept, he sticks to what he knows.
• 27:26
  Hans Zimmer, composer, Wally Fister, DP, Chris Cobol, effect
• 27:30
  supervisor, or back from The Dark Knight and I love every
• 27:33
  casting choice in the film. Nolan gets at least one of my
• 27:36
  favorite performances out of every member of the cast.
• 27:39
  I think this film is definitive Nolan for me.
• 27:42
  One of his defining films. Easily.
• 27:44
  Yeah, it's not quite me favorites Nolan film, but.
• 27:48
  Shut up man Mad. No, sorry.
• 27:50
  It's still going to be the prestige for me.
• 27:51
  That's. Becoming your catch phrase that
• 27:53
  Westie every. Single episode shut up.
• 28:00
  But I do think Inception has got everything that's great about
• 28:03
  Nolan as a director. His best qualities?
• 28:06
  Well, he treats his audience with as much intelligence as
• 28:10
  he's got. He has absolute faith that you
• 28:12
  can keep up with him and you'll understand.
• 28:14
  And if you do, you're going to get so rewarded at the end
• 28:17
  because he can pay film off like few other film makers can.
• 28:20
  And his ability to orchestrate these massive set pieces that
• 28:23
  work on a visual level, but have also got something to keep your
• 28:25
  brain ticking off as well to go back to the extraction of sight
• 28:28
  or how that just keeps building and building more peril, more
• 28:32
  levels to understand, more questions, more answers.
• 28:35
  And what he's done. He's constructed a from where
• 28:37
  you could balance the plot of this on the end of a pendulum in
• 28:41
  a wooden suede to the left, in a wooden suede to the right.
• 28:43
  It would just hang there perfectly poised.
• 28:46
  Simon is from what he's done as a director.
• 28:48
  As I told him, Matt, the pendulum.
• 28:50
  It is, yes. Not telling you how heavy you
• 28:52
  feel so. Bit chunky to carry around that
• 28:55
  isn't it? The Inception had a budget of
• 29:00
  $160 million, and a lot of that naturally went on the huge
• 29:03
  visual effects we see in the film.
• 29:05
  Something we've talked about on our podcast before was how we
• 29:08
  like to see a blend of visual effects rather than using CGI
• 29:11
  for everything, use the right tool for the job, and I do think
• 29:14
  that's something that Nolan does really well.
• 29:16
  So Inception, we have huge sets, miniatures, models, air cannons,
• 29:20
  lots of stunt work and CGI. How good a job do you think
• 29:24
  Nolan does in blending all of these various kinds of effects
• 29:27
  into Inception? As good a job as I've ever seen
• 29:30
  anyone do blending these together.
• 29:32
  Honestly, I do. I can't tell where the practical
• 29:35
  ends and where the CG begins. I can't tell what's green
• 29:38
  screen, what's an actual set that he built.
• 29:40
  Even the stuff that you know has to be CG, like the city folding
• 29:44
  in on itself. Even that, it still feels like I
• 29:47
  could touch that road. I can't get your head around it.
• 29:51
  I can't even begin to figure out how he puts them together.
• 29:55
  I think it's the biggest commitment.
• 29:56
  You compare, you just don't know where one bit of it ends, the
• 29:59
  practical stuff, and where the CG begins.
• 30:01
  It's seamless. Yeah.
• 30:02
  I know the Inception has 500 digital effect shots in total.
• 30:05
  To give some context, the typical blockbuster from the
• 30:07
  time would have over 2000 digital effect shots.
• 30:11
  I've got a quote from Nolan on that, where he said it was very
• 30:14
  important to me that we do as much as possible in camera and
• 30:16
  then use technology to enhance that.
• 30:18
  I think an audience pays much more attention and feels much
• 30:21
  more involved with that. Very much like Fincher in that
• 30:24
  respect, and that he uses it to enhance the story and that city
• 30:27
  falling in on itself. I mean, if you look at just the
• 30:29
  light and design on that CG is just perfect.
• 30:32
  The way the shadows fall against the bottom city and then the top
• 30:34
  one comes in. But the genius of that is that
• 30:37
  when it actually clicks and you cut to the next shot, that's
• 30:40
  obviously just an upside down camera shooting the street.
• 30:42
  So they're two physical, you know, practical effects put
• 30:45
  together. But what you've seen is this
• 30:47
  city come over and then you've seen a real city shot upside
• 30:49
  down. So your head just goes, well,
• 30:51
  that's just the same thing then. And the bit I love is the cars
• 30:54
  going down the fountain. Have you noticed that on the
• 30:56
  right hand side they're going down the water fountain.
• 30:58
  They're kind of like driving straight down.
• 30:59
  He's doing it for the right reasons and he's blended in
• 31:01
  perfectly and still stands up. Now you can't really give it any
• 31:04
  kind of criticism at all. It's brilliant.
• 31:07
  The Inception was nominated for Best pitcher at the Oscars.
• 31:09
  It lost out to OH. King's Speech wasn't.
• 31:13
  It King's Speech the right choice?
• 31:14
  No, fuck. No, the rule of thirds I call.
• 31:17
  That's a shower of shit. Oh yeah, exactly.
• 31:20
  Yeah. To finish on Christopher Nolan
• 31:24
  as a director of Inception, I've got a quote from the mind
• 31:26
  himself, he said. With Inception, my ambition was
• 31:30
  to create a story that embraced all different types of human
• 31:32
  experience. I like to think it's the kind of
• 31:35
  massively entertaining grand scale action film that I want to
• 31:38
  come on the screen when I sit in a movie theatre.
• 31:40
  Fantastic. And lead delivered.
• 31:49
  Every director depends on this cast, and the cast of Inception
• 31:52
  includes 5 Oscar nominees and three Oscar winners, so big
• 31:55
  talent all across the board. There's lots to go through, so
• 31:58
  we're going to go in depth on the main members of Cobs team.
• 32:02
  Joseph Gordon Levitt as point man, author Ellen Pages, the
• 32:04
  architect Ariadne and Tom Hardy is the forger.
• 32:07
  Eames. They're all coming.
• 32:09
  But where else to start then with the biggest star, me and
• 32:11
  Carrotini, Inception, the one and only Leonardo DiCaprio.
• 32:15
  Yeah. Yeah. 5 nominees and three
• 32:18
  winners of Oscars, and Leonardo DiCaprio was the biggest name.
• 32:21
  He plays Dom Cobb, a mine thief who was the best extractor in
• 32:24
  the business. He's hired by Saito to perform
• 32:26
  inception of Robert Fisher in exchange for being able to
• 32:29
  return home and be reunited with his children.
• 32:32
  What are our thoughts on LDC generally first of all?
• 32:35
  Generally, I think he's fantastic act then.
• 32:37
  I think he always has been. Everyone kind of goes back to
• 32:40
  Titanic. He's great and that he does what
• 32:41
  he needs to, but it's his later rules as he's matured and his
• 32:44
  choices that he's made that he's really made me pay attention.
• 32:48
  You know, he's gone from being just a generic poster boy to
• 32:50
  being like a seriously great, one of the greats.
• 32:53
  He's going to go down as one of the greats.
• 32:55
  I mean, he's got that real kind of relatable quality.
• 33:00
  It's as if you know him, if you watch him in The Departed, he
• 33:03
  owns that film and there's just so many people littered around
• 33:05
  that. And one of my favorite poems is
• 33:07
  Shutter Island. I think he's just fucking
• 33:09
  mesmerizing in that. So, so fragile, but amazing.
• 33:12
  Similar in this Amazing. Yeah, I agree.
• 33:15
  I mean, he's fantastic, isn't he?
• 33:17
  I think the great Hollywood names tend to fall into one of
• 33:19
  two comes for me. Either they're a great movie
• 33:21
  star or they're a great actor or actress.
• 33:24
  DiCaprio was one of the very few in history I think who was a
• 33:27
  great movie star and the great actor.
• 33:30
  I think what he does as well as anybody I've ever seen is draw
• 33:32
  you into the story. He's just so engaging on the
• 33:35
  screen and conveys emotions brilliantly.
• 33:38
  And as a lead, carrying a movie is the best there is for me.
• 33:41
  The Wolf of Wall Street I think is a good example.
• 33:43
  An epic 3 hour biopic directed by one of the greats and
• 33:46
  Scorsese all rest on Dicaprio's shoulders and he carries it
• 33:50
  effortlessly. And he chooses this project so
• 33:53
  well. His filmography is just
• 33:55
  sensational. Yeah, I'm a huge fan of the man.
• 33:58
  I think throughout his career he's just shown real bravery.
• 34:01
  People always forget he's given one of the all time great child
• 34:04
  performances in What's Eden Gilded Great.
• 34:07
  I think because that was pre Titanic, people just forgotten
• 34:10
  about that completely and they really shouldn't.
• 34:11
  So if you haven't seen that, go back, check it out because he
• 34:14
  was so young when he made that and it's an incredible
• 34:17
  performance. Like Wesley said, I think he
• 34:19
  does an absolutely fine job in Titanic.
• 34:20
  I enjoy him in that a lot, but I can only imagine the amount of
• 34:24
  job offers he got after that. That would basically just Jack
• 34:27
  Dawson. Yeah.
• 34:27
  You know, Jack Dawson in space. That sounds great.
• 34:34
  I mean I would have taken it anything in.
• 34:36
  Space sounds great to you though, doesn't it?
• 34:37
  Pretty. Much.
• 34:40
  But he didn't do those roles. And after Titanic, he wanted to
• 34:44
  work with interesting directors. You know, he went and worked
• 34:46
  with Woody Allen, he worked with Spielberg, obviously, Scorsese
• 34:49
  in a Retu, and now Nolan. So he's got such a good nose for
• 34:53
  project and he's so clear about what he wants to do as an actor,
• 34:56
  but he's not lazy with it either.
• 34:58
  When you've got the amount of fame that he has got, you could
• 35:01
  just take those roles and be quite lazy in the book.
• 35:03
  The amount of detail he brings to every single character,
• 35:06
  that's why he's, you know, at the top of his game.
• 35:09
  LDC was the only person ever in serious consideration for the
• 35:12
  role of Cobb, but two other big names were discussed before
• 35:15
  DiCaprio was approached. Any idea who they were?
• 35:19
  No idea and no interest. I'm telling you anyway, I know.
• 35:25
  You are. So Brad Pitt and Will Smith were
• 35:29
  two names bandied about. Would you have like neither of
• 35:32
  those? No, I can't see Will Smith doing
• 35:35
  that role. He doesn't have the kind of
• 35:36
  intensity that DiCaprio has. He's he's more lightweight and
• 35:39
  he's he's good at what he does, but I can't see him being as
• 35:42
  convincing. Yeah.
• 35:44
  I mean, two very, very good actors in their own right.
• 35:46
  But I think the material here and I think the amount of depth
• 35:49
  that he brought to the character and the script as well, I think
• 35:51
  the amount he was invested in this, the other two actors that
• 35:54
  you mentioned would have just played it as it was on the page.
• 35:56
  I think they wouldn't have brought that level of
• 35:58
  personality to it that he does here.
• 36:00
  So DiCaprio was the first person casting the film and Nolan saw
• 36:03
  casting him as so important that every other cast member was
• 36:06
  hired based on how Nolan felt they would work with DiCaprio,
• 36:10
  right? So how do we think DiCaprio does
• 36:12
  in Inception as Dom Cobb? He does really well.
• 36:16
  He completely convinces here that this is a guy with secrets
• 36:20
  and and a guy with history. And he always looks to me, he
• 36:22
  looks like really pinched throughout the film, like it's
• 36:25
  almost literally crushing him. The stuff that he kind of just
• 36:28
  has to work through and get off his chest.
• 36:30
  So completely convinced as a leader, someone who other people
• 36:34
  will follow. And you know, pretty much
• 36:36
  everyone does follow him without question because I think he's
• 36:38
  got that natural authority to him.
• 36:41
  I guess I'll go back to what I said about him in general.
• 36:43
  It's just not my favorite kind of performance from DiCaprio.
• 36:46
  So I think he's really good in it, but it would probably be
• 36:50
  relatively low down my list of favorite DiCaprio performances.
• 36:53
  Yeah, besides Dicaprio's performance, which I do think is
• 36:56
  fantastic, what's impressive is how much of A role he played in
• 36:59
  actually improving the film from a writing point of view.
• 37:03
  So Northern said. Leo made some extraordinary
• 37:05
  contributions to the script and really challenged us to make the
• 37:08
  script clear and also to follow its logic.
• 37:11
  The work he did in his character made the movie less of a puzzle
• 37:14
  and more of the story of a character audiences could relate
• 37:16
  to. Right.
• 37:18
  So we have the personal drama stakes at Surround Car, but
• 37:20
  around his children and wanting to get back home, which is
• 37:23
  definitely for the best in the film I think.
• 37:25
  Oh, absolutely. Oh, yeah.
• 37:26
  Yeah. Needs that, Yeah.
• 37:27
  It's the fire that drives the character, and he does it
• 37:30
  without sounding hamming, without sounding cheesy.
• 37:32
  He does some really subtle performances in this.
• 37:35
  I mean, when he actually wakes up on the play and these, these
• 37:37
  expressions just it's priceless. It's absolutely priceless.
• 37:40
  It's fantastic. But yeah, he's brilliant.
• 37:42
  Owns the character I think. Yeah, I think he brings a real
• 37:45
  personal weight in the film that just wouldn't be there without
• 37:47
  him. What's your favorite DiCaprio
• 37:50
  moment in the film? My favorite moment is probably
• 37:54
  the most emotional of the film, as usual.
• 37:57
  It's just when he's, you know, miserable.
• 37:59
  Is it? It's uplifting, John, It's
• 38:02
  uplifting. You know me find happiness and
• 38:05
  misery. Yeah, it's when he's talking
• 38:07
  about the end and it's just in face and his guilt and it's the
• 38:10
  most important dialogue scene in the film and for me, probably
• 38:13
  one of the most important scenes in the film.
• 38:15
  It's not a massive set piece. It's 2 characters sitting across
• 38:17
  each other from a table and he's just admitting that he's wrong
• 38:20
  and you can just see that he's just slowly realising that he's
• 38:24
  getting over it and you just believe it.
• 38:26
  This is the way. The cameras just pushing
• 38:28
  Slowly's expressions, everything so, so great.
• 38:31
  So great. Yeah, like I said earlier, I
• 38:33
  think Dicaprio's fantastic at conveying emotions in a clear
• 38:37
  but not heavy-handed way. There's a few examples in the
• 38:39
  Inception, but I think he's especially great in the scene
• 38:42
  where Cobb watches Mile jump from the hotel window.
• 38:45
  That scene, I mean, it's one of the worst things a person can
• 38:48
  possibly witness and it's drama almost to the point of non
• 38:51
  believability. But with Dicaprio's performance,
• 38:54
  I believe at 100% the way he's like Jesus Christ.
• 38:58
  I mean better not obviously, but.
• 39:02
  Slightly. Just slightly.
• 39:04
  Don't let yourself down too much.
• 39:05
  Though, But I totally buy that scene because of his performance
• 39:08
  in it. I think he's absolutely
• 39:09
  fantastic. Yeah.
• 39:11
  Yeah, the bit I want to talk about to the whole Mr. Charles
• 39:14
  gambit saying because there's so much, like, emotional stuff
• 39:17
  going on, you could be forgiven for forgetting that Corb is the
• 39:21
  top man at his job. And what I love about the scene
• 39:23
  is it's all about the job now. All the stuff with Mal that's in
• 39:27
  the background. It's about him stepping up to
• 39:29
  the plate when it's needed. And I just love how he just
• 39:31
  strolls into that bar, goes up to Fisher.
• 39:34
  He does tell him he's in a dream, but he does it with so
• 39:36
  much confidence and so much charm that he just doesn't break
• 39:40
  the mission for a minute. And I just like how we remind
• 39:43
  you that, you know, he's an absolute expert at this kind of
• 39:46
  stuff. Kelly Murphy ends up hanging on
• 39:48
  his every word that he says, and Dicaprio's got him in the palm
• 39:51
  of his hand and he just carries him out of there.
• 39:53
  It's brilliant. I mean, mostly everybody gets
• 39:55
  their chance to play James Bond in this film at some point, you
• 39:58
  know? And I think this is Dicaprio's
• 39:59
  version of that character, you know, that suave and that
• 40:02
  sophistication. And then when Gordon Levitt's
• 40:04
  just watching him in the foyer, he's like, there he goes.
• 40:06
  You're like, yeah, there he goes, right?
• 40:10
  For his work on Inception, DiCaprio got nothing.
• 40:15
  Overlooked by everybody, basically, you know, BAFTA,
• 40:17
  Golden Globes, Oscar recognition.
• 40:19
  So to finish on Leonardo DiCaprio, Inception, Leo himself
• 40:22
  says about the film. Inception is testament to Chris
• 40:26
  Nolan's imagination. I'm still excited to have done
• 40:29
  this movie and I'm sleeping great.
• 40:33
  Brilliant. Brilliant.
• 40:34
  Glad to hear it. Took one of the suitcases on,
• 40:36
  that's why. The dream Machine.
• 40:42
  I'm not calling her that, Don. I don't get many times there.
• 40:45
  You bring it up. I'm not calling.
• 40:46
  About four seconds worth of thought went into that job.
• 40:51
  Don't be so proud. Of it, to carry out their plan,
• 41:01
  every extractor needs a point man and that position here is
• 41:04
  filled by Cobb's right hand man Arthur, played by Joseph Gordon
• 41:07
  Levis at Cobb side from Inception to Inception.
• 41:11
  Arthur was the details man, the dreamer for level 2 of Cobb's
• 41:14
  plan and is involved in the most iconic action scene in the film.
• 41:18
  He's a stick in the world with no imagination, but he's the
• 41:20
  best of what he does. What do we think of Arthur and
• 41:23
  Joseph Gordon ever? I really like him and I think
• 41:27
  Gordon Levitt does a really good job considering like 80% of the
• 41:31
  time he's just telling Ariadne about Cobb's back story.
• 41:35
  So it takes a good actor to carry off that much character
• 41:38
  exposition and still make him believable and watchable.
• 41:41
  He's just such the right person. When you want the best friend in
• 41:45
  the film, he completely convinces he as the right hand
• 41:48
  man. So dependable.
• 41:50
  He's never going to let you down.
• 41:51
  It's quite a quiet performance in some ways, but I think that
• 41:53
  contrasts well with what Dicaprio's doing, and I think
• 41:57
  God never does that really, really well.
• 41:58
  I really like him in this. Yeah, I like the bond that Cuban
• 42:01
  Arthur have. What's great that Nolan does
• 42:03
  actually is how he creates all these different dynamics between
• 42:06
  the main characters. So authors may be the best
• 42:09
  example where he has a totally different relationship with Cobb
• 42:12
  to what he does with Ariadne and to what he does with Eams as
• 42:14
  well. I like Joseph Gordon Lever
• 42:17
  generally, and I really like him in Inception.
• 42:19
  He plays it all very reserved and understated, which works
• 42:22
  perfectly for the character. And he nails his action scenes
• 42:25
  too. I think he's great, Really,
• 42:27
  really good. Yeah, I like him generally, but
• 42:31
  this is for me, his performance, without shadow of a doubt.
• 42:33
  Like if I imagine him in anything, I imagine him as
• 42:35
  Arthur in this. And I think because Cobb's just
• 42:38
  so busy with these subconscious, I think that Arthur comes along
• 42:42
  as he's conscious. I love the way that the Cobb
• 42:44
  goes a little bit over the top of site or at the start and
• 42:46
  starts talking about intestinal ulcers or whatever he's going
• 42:49
  about. And then, like, Arthur's got to
• 42:50
  step in and he's like, well, what he's trying to say, you
• 42:53
  know, And he's always just the guy to kind of straighten things
• 42:55
  out. And as Matt touched on, he is,
• 42:58
  you know, Mr. Exposition pretty much all the way through the
• 43:00
  film. But he does it in such a way
• 43:02
  that it doesn't seem boring. He makes you feel like, yes,
• 43:04
  this is a really heavy concept. But when he's experienced
• 43:07
  something, he does it in such a way that it's not patronising.
• 43:10
  But it's quite simple. You know, when he's trying to
• 43:12
  explain the totem and then patient erupts him and then he
• 43:15
  goes back and just explains it again really calmly.
• 43:17
  He is. He's fantastic and he looks
• 43:19
  great. I mean, I haven't seen him look
• 43:20
  better. He's wardrobes fucking
• 43:21
  outrageous. He just looks fucking great.
• 43:24
  Like in the LA sequence. Why aren't them leather jackets?
• 43:27
  You know who fucked that up? David Brent.
• 43:31
  So I've got about three of them anymore that I can't.
• 43:33
  Wear anymore. He never once says, oh, well,
• 43:37
  no, forget that AIM says that. But you've always got Arthur,
• 43:40
  you've always got that performance from Levitt.
• 43:42
  That's always that real grounding to the whole film.
• 43:45
  And the character. Yeah, he's wonderful.
• 43:48
  Before GGL was cast, Nolan was in talks with James Franco to
• 43:51
  play Arthur, but that fell through when they were
• 43:54
  scheduling conflicts with 127 Hours, which Franco starred in.
• 43:57
  Would you change it if you could?
• 43:59
  No. No.
• 44:00
  I like Franco, but he's too much of A loose cannon.
• 44:03
  I think for the kind of straight man that Arthur is, I think he
• 44:07
  wouldn't be the right fit. I think everyone is so good in
• 44:09
  this that you wouldn't change anyone, would you really?
• 44:12
  I mean, I think they bring a lot of personality to it that I
• 44:14
  wouldn't change anybody in it. Inception was a big step up for
• 44:17
  JGL. You're doing lots of features
• 44:19
  before Inception, most notably Treasure Planet Break, 500 Days
• 44:22
  of Summer and GI Joe, The Rise of Cobra.
• 44:26
  Nothing with the status of Inception.
• 44:29
  When he went for the audition, he didn't know anything about
• 44:30
  the part because Nolan wouldn't let anybody read the script.
• 44:33
  But he went dressed in a full suit just in case, he said, and
• 44:37
  unknowingly matched Arthur's wardrobe perfectly.
• 44:39
  Oh. Nice.
• 44:40
  I mean, he does look great in those three piece suits, doesn't
• 44:43
  he? Stylish my.
• 44:44
  Superb, the opposite of me in a three piece suit.
• 44:52
  What's your favorite Arthur moment in the film?
• 44:54
  It's a really small one, but it's when Ariadne asks him what
• 44:58
  Mal was like, and he just goes, oh, she was lovely.
• 45:02
  Yeah. Because I think it's a sign of a
• 45:04
  great actor that he can take just three words, and he invests
• 45:07
  so much in there. There's admiration, there's
• 45:10
  regret, there's grief, there's happiness reflecting on someone
• 45:14
  who was obviously a good friend of him.
• 45:16
  And, and it just turns your interpretation of mouth really
• 45:19
  nicely because I think certainly this point, you think whenever
• 45:21
  she turns up, she's going to be trouble.
• 45:23
  This turns it on its head. And he sells that line really
• 45:26
  beautifully. So it's really simple, but
• 45:29
  that's just a real standout for me.
• 45:31
  Lovely that welling up here, Matt.
• 45:32
  Yeah, but you're right. I mean, he is, again, like I
• 45:37
  said, Cobb's conscience like that is what Mild was really
• 45:39
  like. 3 words from Arthur and you know that.
• 45:42
  Oh, well, if you just choose reality and just remember as she
• 45:45
  was, then it'll work. And he does that in three words.
• 45:47
  Yeah, absolutely right. Fucking superb.
• 45:49
  That comes just after the Penrose step scene, doesn't it,
• 45:53
  where Arthur teaches Aryad nearby paradoxes.
• 45:55
  Those steps are based on a print done by a Dutch artist called MC
• 45:58
  Escher in the 60s. Obviously it's impossible to
• 46:01
  build an infinite staircase in the real world.
• 46:03
  They had to conceive and construct something from scratch
• 46:06
  that, when shot from a specific angle, created that illusion.
• 46:09
  An old Wally Fest of the DP played a big part in that.
• 46:12
  And he said about building those steps.
• 46:14
  It had to be mathematically perfect, a particular lens at a
• 46:17
  particular height and distance, and the camera had to drop in a
• 46:19
  particular way to hide the trickery.
• 46:22
  I mean, all of that for like a 5 second shot in the film, yeah.
• 46:26
  Yeah, yeah, but it's a great call back later, isn't it?
• 46:28
  One the end of his action sequences, he's like Paradox.
• 46:30
  Yeah, that's fantastic. It's worth it just for that it.
• 46:34
  Is, yeah. Yeah, my favorite man.
• 46:38
  There's a few favorite bits, but I love it when he's carried out
• 46:41
  with so a little dialogue has to figure out a problem as he's
• 46:44
  gone. It's there's no gravity.
• 46:46
  How do I drop you without gravity?
• 46:47
  You know, and he's trying to figure it all out and it's just
• 46:49
  very slow paced, but he does it so well and you can see his
• 46:51
  whole thought process, you know, figuring it out and the way he
• 46:54
  stacks everybody up, ties them all around, puts them in the
• 46:57
  other, let you believe all of it.
• 46:58
  And then just that little bit when he's like.
• 47:00
  That's too soon. Oh, I love that.
• 47:02
  Yeah. It's just the essence of the
• 47:03
  character with such little dialogue.
• 47:06
  I mean, if I put that in a script where you stack all of
• 47:08
  the cast members up and then tie them up with telephone wire, you
• 47:11
  go, well, this is going to look fucking stupid, but it doesn't.
• 47:14
  Like it doesn't such a way that you just.
• 47:16
  It's got that expression where you totally believe he's like, I
• 47:19
  think this is going to work. And if you just edge your seat,
• 47:21
  yeah, for me, that's his moment. And that's why I like it,
• 47:24
  because it's focused on that character in his dream.
• 47:26
  That's great. Inception was a bit of a
• 47:28
  launchpad for GGL, and since then he's been into that big
• 47:30
  films Looper, The Dark Knight Rises, and he's appeared in
• 47:33
  Lincoln, Sin City and The Walk as well.
• 47:36
  And about working on the film, GGL himself says Inception is as
• 47:41
  big as Hollywood movies get, but Chris prioritizes the acting
• 47:44
  above all else. It was as much fun as I've ever
• 47:46
  had on a set. I felt like a little kid playing
• 47:49
  pretend. Lovely.
• 47:51
  No. Eight people recognized by the
• 47:59
  Academy in the cast, and one of them was Ellen Page.
• 48:02
  She plays Ariadne, the architect who designs the dreams for
• 48:05
  Cobb's plan. After being recruited by Cobb
• 48:08
  from the Paris School of Architecture, Ariadne designed
• 48:10
  all three dream levels and saves the day by going into limbo with
• 48:13
  Cobb and bringing Fisher back to reality.
• 48:17
  She's a bit of a badass is Ariadne.
• 48:18
  What do we think of her and Ellen Page playing her?
• 48:22
  I think much like Joseph got Levitt, she does a really good
• 48:26
  job considering that like 80% of her role is asking questions and
• 48:31
  getting stuff explained right and pointing out the cop that
• 48:33
  he's a bit of a Dick sometimes. That's pretty much all she's got
• 48:38
  to do. But Peter does really, really
• 48:39
  well. It is a performance where on the
• 48:42
  paper you think what actress is going to want to do with that.
• 48:45
  You know, this barely, Anthony, but she brings so much out of
• 48:48
  it. I like how they made the
• 48:49
  character is young as she is, so she's got that level of naivety
• 48:53
  to her. You know, she does kind of rush
• 48:55
  into this without really thinking through what the
• 48:58
  possible consequences for her could be.
• 49:00
  So you can tell she's just so excited by this concept and that
• 49:03
  it links into what she's good at, which is architecture,
• 49:06
  building mazes. Yeah, she's really good.
• 49:09
  Yeah, I mean, she's the audience, isn't she?
• 49:11
  She comes into the film with no knowledge of extraction, like
• 49:14
  us, the audience, and is told everything we need to know by
• 49:16
  Cobb. And author Ellen Page is only 22
• 49:19
  at the time, but doesn't feel remotely out of a depth in this
• 49:22
  huge Nolan blockbuster. What I do like that Nolan does
• 49:24
  with the character is that because she's there to learn,
• 49:26
  for a lot of the film, you make sure it's Ariadne who comes up
• 49:29
  with a new plan. In Dream Level 3.
• 49:31
  When they think that failed, the copper names have basically
• 49:33
  given up and it's Ariadne who says and so pull it off.
• 49:36
  If they're going to limbo, I think that's really important.
• 49:38
  Otherwise Ariadne is literally just there to ask questions.
• 49:41
  Yeah, it's just the absolute heart of the film, I think,
• 49:44
  because she cares about what's going on deeper.
• 49:46
  It's not about what's the depth of the dream levels, it's the
• 49:49
  depth of the emotion. What's the real driving force
• 49:52
  behind Cobb? What's the real problem here?
• 49:54
  What's the real inception? And the real inception is to get
• 49:57
  through to him. And you need somebody who's
• 49:59
  fresh, who doesn't really know anything, and who is, you know,
• 50:02
  adverse to all the bullshit. Before Paige was hired, Norman
• 50:05
  had quite a few other big names in mind for our yard.
• 50:07
  Now, have you heard any of those names?
• 50:10
  No, I haven't. So Evan, Rachel Wood, Emily
• 50:14
  Blunt, Rachel McAdams, Carey Mulligan and Taylor Swift were
• 50:19
  all considered. Taylor Swift.
• 50:21
  Taylor Swift. No, it's all right.
• 50:24
  He did cast Harvey Styles, didn't he?
• 50:25
  And Duncook so. He did.
• 50:27
  She's got farm. Taylor Swift was in Cats, wasn't
• 50:29
  she? So let's just move on.
• 50:32
  Let's shake that off. Before Inception, Ellen Page was
• 50:36
  a rising star. She'd been in quite a few films.
• 50:38
  The most notable were Hard Candy, which won her lots of
• 50:40
  praise, and as the lead in Juno, where she was nominated for an
• 50:43
  Oscar, BAFTA and the Golden Globe.
• 50:46
  She won the part of Ariadne when she met Chris Nolan for a coffee
• 50:49
  that had nothing to do with Inception.
• 50:51
  Nolan said that she had the perfect combination of freshness
• 50:54
  and savvy immaturity beyond her years that he wanted for
• 50:57
  Ariadne. So a week later asked to come
• 50:59
  into his office to read the script and he offered her the
• 51:02
  gig kind of straight away. She said that she had to read
• 51:04
  the script in a room alone with all the doors closed.
• 51:08
  Imagine how many questions she had to ask by herself.
• 51:12
  I've got no one to ask you, I thought.
• 51:14
  You were going to say she had to read the script in a room within
• 51:16
  a room for a second there. Yeah, she had solve amazed to
• 51:20
  get the last page. I always like how she gets angry
• 51:25
  at Cobb. Yeah.
• 51:26
  Well, for the maze. And that just rips the part out
• 51:28
  of his hand, right you Dick, get out of this one.
• 51:32
  Literally thinking outside the box when she turns a bit of
• 51:34
  paper over. Yeah, it's great.
• 51:37
  It's a bit of a strange name, Ariadne, isn't it?
• 51:39
  Do you know why the character is called that?
• 51:40
  I think. It's something to do with Greek
• 51:43
  mythology, but I don't know exactly.
• 51:45
  Yeah, it is Ariadne. Famously, in Greek mythology,
• 51:48
  she was the Princess and the daughter of King Minos, and she
• 51:51
  is the person who helped Theseus escape from the labyrinth and
• 51:54
  fight the Minotaur. So obviously there's a lot of
• 51:56
  references to Ariadne building mazes in Inception.
• 51:59
  So Nolan thought, well, just seems the most logical thing to
• 52:03
  do to name Ariadne for that reason.
• 52:06
  So that's where that came from. Yeah, well, on top of that, the
• 52:08
  maze that Ariadne draws for Cobb, that third one weighs like
• 52:11
  that's more like it. That maze she draws is actually
• 52:14
  based on the labyrinth from Greek mythology.
• 52:16
  So another little. Not really.
• 52:18
  Oh wow, it's not based on the one from David.
• 52:21
  Bowie film. I just read The Labyrinth and I
• 52:25
  assumed the Greek mythology one, but maybe?
• 52:29
  Nice to see where your head goes man.
• 52:33
  About working on Inception and playing Ariadne, Ellen Page now
• 52:36
  says. I absolutely adored playing
• 52:39
  Ariadne and was so excited that Chris had written a role for a
• 52:41
  young woman who was just full of such intellectual curiosity.
• 52:45
  Ariadne is so smart and so brave and way, way cooler than me.
• 52:48
  Nice, lovely words. Forgers are hard to come by and
• 52:59
  Cobbs Forger is one of the best. That's Eames, played by Tom
• 53:02
  Hardy, a suave, eccentric ladies man.
• 53:05
  He's the dreamer of Level 3 in the hospital and responsible for
• 53:08
  carrying out Inception when he impersonates Fisher's godfather
• 53:11
  and plants the idea in Fisher's mind.
• 53:14
  Outrageous wardrobe for Eames. Wonderful.
• 53:20
  How does Tom Hardy do with him, do you think?
• 53:22
  He's fantastic. He's brilliant in every role
• 53:24
  that he plays. Tom Hardy, I've got, you know, a
• 53:26
  real admiration for the guy. And I think he plays this
• 53:29
  character so well that he's the one who understands human
• 53:32
  psyche, human psychology, human emotion.
• 53:34
  He comes up with all of the plan, you know, he comes up with
• 53:37
  the emotive way to actually implant this idea.
• 53:41
  I love it when we're in his dream and they're just about to
• 53:44
  give up. And he's like, I thought I had
• 53:45
  that there. Yeah.
• 53:46
  Yeah. It's a he's not acting, but he's
• 53:50
  acting. I kind of put my finger on it.
• 53:51
  It's just so loose. But at the same time, it's
• 53:53
  really precise. He skirts the line between the
• 53:56
  two things so well. And then my quote from the
• 53:58
  start, mustn't be afraid to dream a little bigger, doll.
• 54:00
  And he just turns up with a massive grenade launcher.
• 54:02
  I think that's just fucking brilliant.
• 54:04
  Yeah. He's superb.
• 54:05
  Like everybody. He totally shines in this.
• 54:07
  Yeah, I love he's. He's great.
• 54:10
  What I think about Tom Hardy is that I think he's an actor where
• 54:12
  you can really see the choices that he's made.
• 54:14
  His delivery of lions and portrayal of characters is often
• 54:17
  not what it reads on the page, and he usually injects something
• 54:20
  a bit when expected into a role, whether it's intensity or
• 54:24
  oddness or stoicism. You can do quite a lot here.
• 54:28
  He plays into this quirky, Shakespeare lovey type.
• 54:32
  It's ridiculous, but it works so well.
• 54:34
  I think it's pretty off the wall what he does with the character,
• 54:36
  but he fits in with the rest of the team just seamlessly.
• 54:39
  And I like Hardy in a lot of things.
• 54:40
  I think he's really good in Dunkirk, I think he's great in
• 54:43
  The Revenant and I think he's great here as well as Eames.
• 54:46
  Eames is my favorite character in the film really easily.
• 54:50
  I love every minute he's on screen.
• 54:52
  But Chris Murray's got, but it's quite low key in a way.
• 54:55
  He's not showing off. It's not like an egotistical
• 54:58
  performance. It just comes really, not really
• 55:00
  to him. He seems on the face for like,
• 55:02
  really cool and really in control, but he's the one who
• 55:04
  starts to lose a little bit when plants sort of go around.
• 55:07
  He's one who's like, Nope, gonna stay here.
• 55:08
  Yeah, no, any further. So I like that about it.
• 55:11
  He's not quite as cool as he makes himself out to be, and
• 55:15
  although I don't particularly want a sequel to Inception, I
• 55:17
  would definitely watch a spin off with Eames and Arthur
• 55:21
  together. Because.
• 55:23
  The two of them together are brilliant.
• 55:25
  Sounds like a buddy, Alan, Philip, Eames and Arthur.
• 55:28
  Well, that's it. Make it a sitcom.
• 55:29
  I would happily watch a sitcom with those.
• 55:31
  Two I would sounds fucking shocking.
• 55:35
  With us to know, it'd be great, yeah.
• 55:38
  I don't know what you're saying up but on the page do you think
• 55:41
  Eames has written to be a bit older?
• 55:43
  Hardy is. There's something about him that
• 55:45
  I always think he was probably meant to be, maybe like Tom
• 55:47
  Berenges age, but then Nolan obviously got Hardy in mind and
• 55:51
  didn't change the character. Possibly, yeah.
• 55:53
  But I do know that when Nolan cast DiCaprio, he intentionally
• 55:56
  cast younger cast members because he didn't want DiCaprio
• 55:59
  to look too young. So maybe that's where the change
• 56:02
  came from. Right.
• 56:03
  Another story as well is that Tom Hardy thought he was cast
• 56:06
  because of his performance in Bronson, but he was actually
• 56:09
  cast because of his performance in Rock and Roller.
• 56:11
  Yeah. So first day on set, you had to
• 56:13
  crystal. And then he's like, what do you
• 56:14
  think of Bronson? He's I haven't seen it.
• 56:19
  So I thought I was cast off the back of that.
• 56:20
  He's like, no, and I saw you in Rock and Roller, which is weird
• 56:22
  because it's not a memorable performance for me.
• 56:24
  No. Well before Inception.
• 56:26
  I actually first came across Tom Hardy in Star Trek Nemesis.
• 56:30
  Of course you do. Course you do.
• 56:31
  Where he plays the bad guy shins on.
• 56:34
  Shins on. Yeah, yeah, yeah.
• 56:35
  He's basically a cloner. Patrick Stewart.
• 56:37
  And he wears a bald cap. Yeah, and a bit like our yard
• 56:40
  named Nolan. Took the name of Eames from
• 56:42
  somewhere else. Yeah, he was named after Charles
• 56:44
  and Ray Eames. I believe they were married
• 56:46
  couple and they were known as furniture designers, architects
• 56:50
  and for Megan, avant-garde documentaries.
• 56:53
  Avant-garde. I think that fits pretty
• 56:54
  perfectly with how hard he portrays him, doesn't it?
• 56:57
  Yeah, definitely, 100%. He's got an arty side with him,
• 57:00
  hasn't he? Yeah.
• 57:01
  What's your favorite Eames moment in the film?
• 57:04
  I think Eames does give the most hilarious moment in the film,
• 57:07
  and it's when they're talking about the kick for the first
• 57:09
  time and Ariadne obviously wants to know what that is.
• 57:13
  And Eameses goes this Ariadne would be a kick because he's
• 57:16
  seen Arthur swinging on his chair and he nearly sends him
• 57:19
  frying. It's hilarious.
• 57:21
  It's the fact that Eames isn't even looking at him while he's
• 57:24
  doing it. He's just like staring off the
• 57:26
  other side room. So he does it really slyly, the
• 57:28
  little busted, and Arthur is furious.
• 57:31
  He is. It's a small moan and it's some
• 57:34
  sort of that kind of bickering relationship that Eames and
• 57:36
  Arthur have. I love it.
• 57:38
  Yeah, I love the indro scene to Eames in the bar Mombasa where
• 57:41
  he's sitting with Cobb. Hardy's delivery of pretty much
• 57:44
  every line is great. I like her when Cobb mentions
• 57:47
  Arthur and Eames is like Arthur. That'll stick in the mud.
• 57:53
  It's. An example of what I mean where
• 57:55
  Hardy often surprised me with his choices, but almost always
• 57:58
  in a good way. The bit that really resonated
• 58:01
  with me is when he's watching Fisher at the end and he's just
• 58:05
  waiting for him. He's waiting for it to click and
• 58:07
  he's watching him and he's just like, come on.
• 58:08
  It's just that expression on his face where he knows that's all
• 58:12
  of his work, that's everything he's worked towards, and he's
• 58:15
  just watching it silently from the doorway.
• 58:16
  And I think when you're on Hardy's face there, you can
• 58:18
  totally see it and he nails it without pretty much any dialogue
• 58:21
  whatsoever. It's a fantastic, fantastic bit
• 58:24
  of acting. Of all the actors in the film,
• 58:27
  Tom Hardy's probably the one whose career Inception impacting
• 58:29
  most positively. After that, he's appeared into
• 58:32
  that big films, the most notable Tinker Tailor Soldier Spy
• 58:35
  Warrior Legend, where he plays both great wins, The Revenant,
• 58:38
  where he was nominated for an Oscar, and as the lead in Mad
• 58:41
  Max, Fury Road and Venom. And he worked with Northern
• 58:44
  twice more in Dunkirk and has been in The Dark Knight Rises.
• 58:49
  He's doing all right for himself, Hardy, hasn't he?
• 58:51
  Yeah, and right. He's so, to be fair, like he's
• 58:53
  fucking massive in anything. Yeah, he'll always be shins
• 58:56
  under me. Christ almighty, what does he
• 59:04
  have to do to shake that shit? About the Inception, Tom Hardy
• 59:10
  said about his time on the set. Dicaprio's there, Nolan's there,
• 59:15
  prolific people. I'd came from obscurity and was
• 59:17
  concerned with not letting the team down.
• 59:19
  Really, that's what fed the work.
• 59:21
  I'm only a very small cog in the wheel.
• 59:24
  Selling himself a bit shortly, I think.
• 59:26
  Hardy, isn't he? Yeah, a little bit.
• 59:28
  Yeah, but I think it says a lot about him.
• 59:29
  He doesn't have that ego, does he?
• 59:31
  Good guy. Well, DiCaprio was the lead, of
• 59:33
  course, but I think it's testament to the cast as a whole
• 59:35
  that the film has an ensemble feel to it as well.
• 59:38
  Everyone plays their part and I don't think there's anybody in
• 59:41
  the cast who feels replaceable. No, definitely.
• 59:44
  Not definitely. Not.
• 59:52
  At this point we've been through all the set up, the director,
• 59:55
  the cast and mountains of exposition and the middle of
• 59:58
  inceptions where things really start and we dive into the dream
• 1:00:01
  world. Dream level 2 when the hotel is
• 1:00:03
  coming. But first makes sense to start
• 1:00:06
  with dream level one I think. So after Saito buys out an
• 1:00:10
  entire airline, the team get on the same flight as Fisher, drug
• 1:00:13
  him to sleep, and then get started on the plan.
• 1:00:16
  Level one is Yousef Stream in rain drenched chalet and it
• 1:00:19
  brings those subconscious security, a runaway train in the
• 1:00:21
  middle of a street and Tom Behringer as Browning fish as a
• 1:00:26
  godfather. What do we think of Dream Level
• 1:00:28
  One? These dream levels for me are
• 1:00:32
  again a massive reference to the whole film Megan subplot that
• 1:00:36
  runs all the way through it. I truly believe that these three
• 1:00:39
  dream levels are based on three of Chris Nolan's favorite films,
• 1:00:42
  right? And can you guess what this one
• 1:00:44
  would be? It's always reminded me of heat.
• 1:00:47
  Heat. I was going to say yeah there.
• 1:00:48
  You go. So I think this one is very
• 1:00:50
  reminiscent of that whole Heat genre.
• 1:00:53
  That whole shootout just comes from nowhere.
• 1:00:55
  The train comes from nowhere. You're automatically in.
• 1:00:57
  And when I was watching it again yesterday, I was thinking if I
• 1:01:00
  was trying to figure out who's going in What Car.
• 1:01:02
  Like if you go in the taxi and then you go in the back and then
• 1:01:04
  I'll pick you up at the corner and then we'll go and get
• 1:01:06
  Fisher. That would take me 6 months just
• 1:01:08
  to figure out who's doing What Car.
• 1:01:10
  It's just. And then there's all the other
• 1:01:12
  little bits that you put into it.
• 1:01:13
  I mean, all the number theories that go through the film.
• 1:01:16
  This is quite prominent in this scene because you've got site or
• 1:01:20
  safe starts at #53 and Mal, safe is number 20.
• 1:01:23
  That's the numbers that are shown on there.
• 1:01:24
  Yeah. And on the taxi is the number
• 1:01:26
  2053, which is relating to them two safes.
• 1:01:29
  But the number on the train IS35O2.
• 1:01:32
  So that's Mal trying to reverse everything.
• 1:01:35
  And that all comes from the hotel room that Mal jumps from.
• 1:01:37
  The number is 3502. Wow.
• 1:01:40
  Yeah, exactly. So it's all, you know, it's just
• 1:01:43
  a torture cub and just, you know, the for a fact, his
• 1:01:46
  subconscious trying to bring him back to where he was.
• 1:01:48
  But I love the fact that yousef's had too much champagne
• 1:01:51
  and he needs a person like, I love that.
• 1:01:54
  That's just excellent. Another thing I love about this
• 1:01:57
  as well is Hardy's transformation into Behringer's
• 1:02:00
  character. He's obviously sitting in front
• 1:02:02
  of an actor's vanity mirror. It cuts away.
• 1:02:04
  It's all Hardy in the mirror. Cuts back.
• 1:02:06
  Behringer's in one mirror, cuts back at DiCaprio, then he's in
• 1:02:09
  two. Cuts back, then he's in three,
• 1:02:10
  and then he turns and shouts and then Hardy's reflected in the
• 1:02:13
  mirror as he shouts. It's just genius.
• 1:02:16
  It's so fucking impressive that you watch it in just that level
• 1:02:18
  of detail and it's not confusing.
• 1:02:21
  You just think, Oh, well, that's fairly simple in its execution,
• 1:02:24
  Yeah. But the thought process behind
• 1:02:25
  all these little bits and you just keep thinking, right, well,
• 1:02:28
  where is this going? You know, it's superb.
• 1:02:30
  Just the imagery of that train smashing through the cars in the
• 1:02:32
  middle of the street is fantastic.
• 1:02:35
  In order to do that, they put a train engine under the chassis
• 1:02:37
  of a tractor trailer. It's a great shot on that.
• 1:02:40
  And the state motto on all the car license plate says the
• 1:02:43
  alternate state, which is a nice touch.
• 1:02:45
  Oh amazing. Wow, just the detail that
• 1:02:48
  Westies went through there and that in this one sequence is
• 1:02:51
  just mind blowing. Yeah, it's just got that
• 1:02:54
  physicality that Nolan works so well with, doesn't it?
• 1:02:58
  The way that train comes through.
• 1:02:59
  And what's great about that is that it reminds you how surreal
• 1:03:03
  dreams can be. This is the bizarreness that can
• 1:03:06
  happen in a dream. So it's not going to happen like
• 1:03:08
  a straightforward action sequence, nor there will be a
• 1:03:10
  train just smashing through the middle of the road for no
• 1:03:12
  reason. And it's also great that this is
• 1:03:14
  where the peril really starts to ramp up, because now you get the
• 1:03:18
  introduction of the concept of limbo and what that's going to
• 1:03:21
  mean for everyone. Because up until now, everything
• 1:03:24
  has just been about success or failure.
• 1:03:26
  Now there's a natural life or death aspect to it.
• 1:03:29
  Yeah. And they're all in it much
• 1:03:30
  deeper than the thought, which doesn't reflect well on Cobb at
• 1:03:32
  this point. So I like how we get that little
• 1:03:34
  twist on his character. Like he should have told them.
• 1:03:36
  Yeah. It just shows his desperation as
• 1:03:38
  well, and that he's willing to sacrifice everybody.
• 1:03:40
  I think that's really important because he doesn't want to do it
• 1:03:43
  either. And it's the Caprio's
• 1:03:44
  performance. You can see he is tortured by
• 1:03:46
  it. And then you have that lovely
• 1:03:47
  samba moment where he explains about Mal and he's talking
• 1:03:50
  Ariadne about it. And I love the things he
• 1:03:52
  introduces. Like there's a train from Norway
• 1:03:54
  and you just think, all right, yeah, explain that later.
• 1:03:57
  I bet you can't. And then there's this guys in a
• 1:03:59
  massive shootout. You just think, well, where the
• 1:04:00
  fuck's that coming from? And you just kind of get cocky
• 1:04:02
  and you go right the fuck this film up.
• 1:04:04
  They can't explain that. And then they go in and say, oh,
• 1:04:06
  you know, Fisher's been trained. And you go, oh, shit, that's
• 1:04:10
  believable. Yeah, they just explain
• 1:04:12
  everything. They just go, oh, yeah, shit,
• 1:04:14
  right, OK. And then you're straight back
• 1:04:15
  with them again. What do you think of the big
• 1:04:18
  chase through the streets where Yusuf's driving the van?
• 1:04:21
  That sequence, that car chase, it took months to film.
• 1:04:24
  And I've got a quote from DLEP Rao, who plays Yusuf, and he
• 1:04:26
  says we shoot it one day, then go off and shoot something else.
• 1:04:30
  It was so complex and there was so many locations and so many
• 1:04:33
  different moves I have to do. We filmed it on and off for
• 1:04:35
  months. Well.
• 1:04:37
  Doesn't feel like it's something that will take months to film
• 1:04:40
  like does it? I would assume that coming back
• 1:04:42
  to a month later would make it easier to tie everything in with
• 1:04:45
  what's happening later in the film in the their dream levels
• 1:04:47
  because it's all going to match up.
• 1:04:48
  Maybe that was why, I'm not sure.
• 1:04:50
  Yeah, yeah, maybe. Yeah, from there, the team
• 1:04:58
  heading to Arthur's Dream, a hotel where Fisher's
• 1:05:00
  subconscious projection of Browning starts feeding the idea
• 1:05:03
  back to him. As planned, Dream Level 2 brings
• 1:05:06
  us Eames impersonating a lovely lady he's used before and the
• 1:05:12
  greatest fight in a hotel corridor with no Gravity film on
• 1:05:14
  a 100 foot long revolving set ever.
• 1:05:18
  It's my favorite one, yeah. It's in the top two.
• 1:05:22
  What do we think about Dream Level 2?
• 1:05:23
  Is it all about that corridor? No, I don't think it is, to be
• 1:05:26
  fair. I think there's enough going on
• 1:05:29
  in there besides that that's worth talking about it.
• 1:05:31
  I think it's at this point that the film has a definite Ocean's
• 1:05:34
  11 vibe. You know, everyone's swanning
• 1:05:36
  around a hotel in suits, pulling cons, stealing wallets.
• 1:05:40
  It's definitely got that lovely highest element to it.
• 1:05:43
  I love that saying. It's the other bit in the film
• 1:05:45
  that makes me laugh. When Eames goes into the left
• 1:05:47
  recital and he's the woman and like Sido really freaks out.
• 1:05:51
  Then he sees it's Eames reflection.
• 1:05:54
  I love why that comes back as well as.
• 1:05:55
  And he sees Behringer and he's like, oh, you've changed.
• 1:05:57
  He's like, oh, man, yeah. Oh, it's really good.
• 1:06:00
  That's really funny. Yeah, that's great.
• 1:06:02
  But yeah, I mean that corridor fighter, man, come on.
• 1:06:05
  When I first saw that, I actually just wanted to laugh
• 1:06:08
  just because how audacious it was.
• 1:06:10
  And I think it works so well because of where in the film
• 1:06:13
  Nolan's placed it so much. The film so far has been about
• 1:06:18
  the levels of dream and what Inception is, what Extraction
• 1:06:21
  is. So now I think it's Nolan knows
• 1:06:24
  that he's got like an ace up a sleeve and he's like, right,
• 1:06:27
  I've been talking to these people long enough, I'm just
• 1:06:29
  going to show them something that works on a visual level and
• 1:06:31
  I'm going to blow everyone away. But it's not to say for the
• 1:06:35
  sacred either. It reminds you that on this
• 1:06:37
  level it's been affected by what's happening on level one,
• 1:06:41
  just in case you'd forgotten about that.
• 1:06:43
  Yeah, because they're in freefall now.
• 1:06:45
  They're in freefall down here. So it's still amazing.
• 1:06:49
  It really is. I think it's one of the most
• 1:06:50
  incredible things I've seen in a film.
• 1:06:53
  It took three weeks and 500 people to shoot this.
• 1:06:56
  I love how there's practically no digital effects used.
• 1:06:58
  Almost everything we say is in camera.
• 1:07:00
  It looks so real because most of it was, but not just that.
• 1:07:04
  I mean, the editing is fantastic.
• 1:07:06
  I love how the fight gets more and more frantic and tense and
• 1:07:09
  the score crescendos and then the whole thing just comes
• 1:07:12
  through a really sudden end with the band when Arthur fires the
• 1:07:14
  gun. Absolutely brilliant, Just
• 1:07:17
  mesmerizing every time I watch it.
• 1:07:19
  I mean this is 2 films for me. This is his like not the
• 1:07:22
  Kubrick. So I think this is the Shine and
• 1:07:24
  and it's 2001 just mixed together.
• 1:07:27
  But I love as well just in level one, when you get that really
• 1:07:31
  great Mcguffin, which is the number, it's like 528491, which
• 1:07:34
  then runs into this one because she leaves it on the napkin and
• 1:07:37
  then it becomes the hotel room, which I think is really clever.
• 1:07:40
  And it's just a wonderful way to implant that in someone's mind.
• 1:07:44
  So every level is a level of inception.
• 1:07:46
  They're implanting something in his mind every single step of
• 1:07:48
  the way. And I would say The Shining, not
• 1:07:50
  just because of the really obvious.
• 1:07:52
  Yeah, it's in a hotel. So I Westie, you're just going
• 1:07:55
  to mention The Shining because he loves The Shining.
• 1:07:58
  Yeah. I think it's great.
• 1:08:00
  There's another parallel as well.
• 1:08:02
  Well, there's two. If you notice when Cobbs is
• 1:08:04
  talking to Fisher, when he takes him out the bar, where does he
• 1:08:06
  go? The bathroom?
• 1:08:08
  Yeah. So it's similar when Jack's
• 1:08:09
  talking to Greedy, right? Yeah, yeah.
• 1:08:11
  Very similar in shot. There's mirrors on the side.
• 1:08:14
  It's got a very similar look. And the other thing I love about
• 1:08:16
  this as well, that I don't know if I'm going like really nerd
• 1:08:19
  level 1000, but you know how Gordon Levitz taught him as a
• 1:08:23
  dice? Yeah.
• 1:08:24
  And he halted up the camera and it's loaded.
• 1:08:26
  So it always lands on A5, right? So he's tumbling down the
• 1:08:29
  corridor. And if you look at the end of
• 1:08:30
  the corridor, there's a #5 which goes around level 5.
• 1:08:33
  Is there really right? Wow.
• 1:08:35
  Yeah, it's fucking amazing, isn't?
• 1:08:38
  It. I see you're going to make a
• 1:08:39
  documentary about all the hidden meanings of Inception.
• 1:08:42
  Yeah. Room 5 to 8.
• 1:08:45
  Yeah, Room 5 to 8, we're already 10% of it will be feasible.
• 1:08:51
  It is brilliantly bonkers, the revolving corridor.
• 1:08:53
  So do we know how they did it? Yeah, but you can explain it
• 1:08:56
  because I need to simplify it well.
• 1:09:00
  Firstly, it was all filmed in two enormous airship sheds in
• 1:09:02
  Bedfordshire. Originally the revolving set was
• 1:09:05
  only going to be 40 feet long, but as the scene became more and
• 1:09:07
  more elaborate they decided to make it 100 feet long.
• 1:09:11
  The mechanics of the set was mapped out by Wally Fister, the
• 1:09:13
  DP, Chris Cobol, EFFECT supervisor, and Guy Hendrix, DS,
• 1:09:17
  who was the production designer. The set they built and rotated a
• 1:09:20
  full 360° and they could control the direction it rotated and how
• 1:09:24
  fast it rotated. Nolan didn't want any digital
• 1:09:27
  effects if possible, so even the lights were real.
• 1:09:30
  They had it rigged up with real electricity I found.
• 1:09:33
  Impressive, Yes. Well, I'm not done yet.
• 1:09:37
  So the corridor on that set was horizontal, of course, but they
• 1:09:39
  created the second set that was identical to the first in every
• 1:09:42
  way except the corridor was vertical.
• 1:09:44
  So in this set, Joseph Gordon Levitt in the stuntman he was
• 1:09:47
  fighting, suspended from pulleys about 40 feet in the air to
• 1:09:50
  create the look of weightlessness.
• 1:09:52
  So the moment where they're fighting and moving up the walls
• 1:09:54
  and round the ceiling is all shot on set one, the one that
• 1:09:57
  revolved. And the times where they're
• 1:09:59
  weightless or appear to be weightless is on set to the
• 1:10:01
  vertical set. And the fight sequence cuts
• 1:10:04
  between shots from both sets, which is why the points of
• 1:10:06
  gravity seem to change from one second to the next, and why it's
• 1:10:08
  completely impossible to make any sense of it.
• 1:10:11
  I mean, this is just phenomenal in my eyes.
• 1:10:14
  I think we have to say as well, Joseph Gordon Levitt is an
• 1:10:17
  actor, not a stuntman, and he's brilliant in this whole
• 1:10:20
  sequence. Oh, he's amazing.
• 1:10:21
  The great thing about Levitt in this is that he trained for like
• 1:10:23
  12 weeks and he had a stuntman. But you know how many shots a
• 1:10:27
  stuntman was used for? How many?
• 1:10:29
  No. Really, everything else is
• 1:10:33
  Gordon Levitt. Yeah.
• 1:10:33
  I mean, you can totally tell if you had a stuntman and they'd be
• 1:10:36
  really hard to cut around it. You need him to play it because
• 1:10:38
  it needs that believability. And I think for him to do that,
• 1:10:40
  train for 12 weeks and then nail it as well as he does here,
• 1:10:43
  you're still there. You know, It's superb.
• 1:10:45
  I know the JGL said it was the most pain I've ever been in on a
• 1:10:48
  movie set. And also to allow him to keep a
• 1:10:51
  tune with the rhythm of the set as it was revolving around him.
• 1:10:54
  He would sing Bach to himself in his head to keep focus of.
• 1:10:58
  Course you would. Cool shed man GGL isn't it?
• 1:11:10
  Right into the character here, isn't it?
• 1:11:13
  Well, I mean, it's no surprise that he had to find some way to
• 1:11:17
  keep his focus here because what Nolan was putting him through,
• 1:11:19
  just on the physical level, I mean, even just thinking about
• 1:11:22
  it makes me feel a bit sick, Nolan said.
• 1:11:25
  It was like some incredible torture device.
• 1:11:28
  We thrashed Joseph for weeks, but in the end, we looked at the
• 1:11:30
  footage and it looks unlike anything any of us has ever seen
• 1:11:33
  before. The rhythm of it is unique.
• 1:11:35
  And when you watch it, even if you know how it was done, it
• 1:11:38
  confuses your perceptions. It's unsettling in a wonderful
• 1:11:41
  way. Really nice.
• 1:11:43
  Yeah, I know the end of that inception was called Lee Smith.
• 1:11:45
  He had loads of experience going back to the 70s and when he was
• 1:11:48
  sent the footage for this corridor scene he called Nolan
• 1:11:51
  and said this is the most incredible footage I've ever
• 1:11:53
  been sent blown away by. The whole 0 gravity thing is
• 1:11:58
  another call back to what was saying about, you know, the
• 1:12:01
  visual effects that were used. The practical effect is that
• 1:12:04
  Alan Page's hair was tied up into a bun because they didn't
• 1:12:06
  know how her hair was going to react in that zero gravity
• 1:12:08
  atmosphere. And the other thing that I
• 1:12:10
  really, really love about this is when he's moving sight or
• 1:12:12
  you've got them tiny blood droplets, yes, coming out of his
• 1:12:15
  mouth. Oh yeah.
• 1:12:17
  You're going to use visual effects at CGI.
• 1:12:18
  That's what you use them for. Just to show that he's
• 1:12:21
  deteriorating. Wonderful.
• 1:12:23
  The zero gravity fight sequence Inception is covered in A5 line
• 1:12:26
  paragraph in the screenplay and there's only 30 seconds of
• 1:12:29
  screen time and it doesn't feature the main star of the
• 1:12:31
  film, but wow, yeah, wow. All this level, wow.
• 1:12:35
  The whole film, wow. Massive productions need a
• 1:12:49
  talented crew to deliver and the crew that worked on Inception
• 1:12:52
  was pretty great, so we're going to go into a bit more detail on
• 1:12:54
  some of them now. 2 long time Nolan collaborators DP Wally
• 1:12:58
  Fister and composer Hans Zimmer are coming up, but for now
• 1:13:01
  they're waiting for a train as we're starting back with Nolan
• 1:13:05
  as the writer of Inception. Yep, let's do it.
• 1:13:08
  As I mentioned earlier, Northern first had the idea for Inception
• 1:13:10
  as a teenager and at first thought about making it into a
• 1:13:13
  horror, but in the end decided on a science fiction heist
• 1:13:16
  movie. It's high concept and famously
• 1:13:19
  difficult to keep track of what's happening at times.
• 1:13:21
  Inception. So what do you think of the
• 1:13:24
  writing in the film? I think it's a completely
• 1:13:26
  original film. I mean, you can see it's
• 1:13:28
  influences, but I mean, I don't really think you can say, Oh,
• 1:13:31
  well, that's just exactly the same as this or anything like
• 1:13:34
  that. I think this completely stands
• 1:13:36
  on its own. I think it's a glimpse inside
• 1:13:38
  Chris Nolan's ambition. But it's a very personal story
• 1:13:41
  from Nolan. It's a very, you know, unique
• 1:13:43
  idea. I think he executes it
• 1:13:45
  perfectly. I think it's a really solid,
• 1:13:47
  really ambitious bit of writing that is complicated but at the
• 1:13:50
  same time very accessible. So yeah, it's a wonderful
• 1:13:53
  script. Yeah, I mean, the concept is
• 1:13:55
  brilliant. Heist team that goes into
• 1:13:57
  people's dreams to extract secrets.
• 1:13:59
  Fantastic. But what Nolan does here that
• 1:14:01
  makes him the best of this sort of thing is that he doesn't just
• 1:14:03
  think, well, that's a great concept, My work is done.
• 1:14:07
  He develops it. So it's not just dreams.
• 1:14:09
  Within dreams. There's loads of great ideas
• 1:14:11
  like subconscious security. And I love Yousef Seller, where
• 1:14:14
  people go there every day because I'd rather be in the
• 1:14:16
  dream than reality. That's a great idea.
• 1:14:18
  On top of that, I love the emotional core of the film,
• 1:14:21
  which revolves around Cobb losing his wife and wanting to
• 1:14:23
  get back to his children. That brings so much weight that
• 1:14:26
  the narrative just needs maybe a negative in the right thing.
• 1:14:30
  I would say is some of the plotting can be a little
• 1:14:32
  contrived. Rules crop up just because
• 1:14:35
  Northern needs them to sometimes we're told so many rules.
• 1:14:37
  I'm half expecting Cop to say don't cross the streams.
• 1:14:40
  Everything else is in there. But generally, yeah, I think
• 1:14:43
  he's in a fantastic job of getting his head around this
• 1:14:46
  crazy concept and managing to make it into something that
• 1:14:48
  works as a story. It is a little bit of a mixed
• 1:14:51
  bag for me, The good stuff. Let's get to the good stuff
• 1:14:54
  first. So the depth to which he's
• 1:14:56
  thought this concept through, not just going into dreams,
• 1:14:59
  dreams within dreams. And then to think, right, so
• 1:15:02
  something happens in level one that's going to affect level 2,
• 1:15:04
  then that's going to affect Level 3.
• 1:15:06
  To think all that through, that's just incredibly detailed
• 1:15:09
  plot work. And when you get to the end and
• 1:15:12
  the way he just threads the needle through all those
• 1:15:15
  different layers and just pulls it all together, it's just a
• 1:15:18
  beautiful bit of plot writing. The negative aspects for me kind
• 1:15:22
  of twofold. I think the character work does
• 1:15:25
  feel a little lacking for me. I kind of touched not a bit when
• 1:15:29
  I talked about Ariadne and Arthur, how like 80% of them is
• 1:15:32
  just explaining other stuff. And I think that's to their
• 1:15:35
  detriment that I don't really feel I know them that much as
• 1:15:38
  characters. And the second thing, I just
• 1:15:41
  don't find this dialogue very memorable.
• 1:15:42
  Trying to find a quote to start this episode was the hardest
• 1:15:45
  one. I was reading through the
• 1:15:47
  script. I was like, that's just a line
• 1:15:49
  of exposition. That's just another line of
• 1:15:51
  exposition. And then I see a change it as
• 1:15:52
  well. Yeah, exactly.
• 1:15:54
  You asked me to change it. I knew someone else would go for
• 1:15:56
  the AIM sign, which is obviously the best line in the film is,
• 1:15:59
  you know, front and centre in the trailer.
• 1:16:01
  And I think that's a far inception.
• 1:16:03
  It's not a film I think you're ever going to find yourself
• 1:16:05
  quoting. Yeah, I mean, that's valid
• 1:16:07
  points on both. I think his dialogue isn't bad,
• 1:16:10
  but it's not memorable. No, it's not bad, no.
• 1:16:13
  There's no like iconic lines, hardly ever in his films or
• 1:16:15
  anything like that. I agree with that, but I do care
• 1:16:18
  about the characters. To be honest.
• 1:16:19
  I do care about cop getting home and I do like all the
• 1:16:21
  characters. I would love to see all these
• 1:16:23
  characters again. We would never go into and I'm
• 1:16:25
  not sure why because you're right.
• 1:16:26
  I mean Arthur will know nothing about him, but I really like him
• 1:16:29
  or we hadn't even know nothing about her, but I really like
• 1:16:31
  her. Same with themes.
• 1:16:32
  So I'm not sure where that comes from.
• 1:16:34
  Maybe it is just in the performances.
• 1:16:35
  I. Think it is, yeah.
• 1:16:37
  Things, what they bring to it. I think he's just a very visual
• 1:16:40
  director. He's a very visual filmmaker.
• 1:16:42
  So a lot of this is individuals, a lot of the emotion, a lot of
• 1:16:44
  the impact is right there on the screen for you to find.
• 1:16:47
  Yeah, you're right. He's not a dialogue writer, he's
• 1:16:49
  not Tarantino. But I think if you start delving
• 1:16:51
  in the back stories here, you're going to lose focus on what the
• 1:16:53
  actual films about, which is about Cobb and you know
• 1:16:55
  everything about him and everything about Mal.
• 1:16:57
  That's what the film's about. That's the nuclear kind of
• 1:17:00
  centres in. Not every film can have that
• 1:17:02
  level of character development in depth because it's not going
• 1:17:05
  to be focused on them. It'll be a distraction for me.
• 1:17:07
  I think that would be too much. And yeah, his dialogue is quite
• 1:17:11
  forgettable, but his visuals aren't.
• 1:17:13
  Well, as well as the plot exposition and character
• 1:17:16
  backstories and arcs, Norman still finds time to throw a
• 1:17:19
  theme or two in there as well. Regret is a big one.
• 1:17:22
  But maybe the most interesting theme that people talk about is
• 1:17:25
  that Inception as a film is an allegory for filmmaking itself,
• 1:17:29
  and that Norman reflects that throughout the movie.
• 1:17:31
  Wesley I think you see filmmaking is a theme and
• 1:17:33
  Inception. Oh, absolutely, yeah, 100%.
• 1:17:36
  And I think every character's got a role.
• 1:17:38
  And it's no secret that Cobb looks pretty similar to Nolan,
• 1:17:41
  right? Pretty much exactly the same.
• 1:17:44
  Well, he's a bit more handsome I think than a.
• 1:17:47
  Little bit, yeah. But you know, credit where it's
• 1:17:49
  due, the hairstyles there, you know, his outfits are the same.
• 1:17:53
  And it's even been said that on the teaser poster where it's the
• 1:17:56
  back shot of Cobb looking down the whole cityscape, that that
• 1:17:59
  was actually Nolan. Really.
• 1:18:01
  Yeah, apparently. Yeah, I mean, that thing about
• 1:18:04
  the filmmaking, once you know about it and you can start to
• 1:18:06
  identify the different roles, it does start to make sense.
• 1:18:09
  So obviously Cop, he's a director, he's the man with the
• 1:18:12
  vision. He's got the grand plan.
• 1:18:14
  Arthur is the producer. So it's the point man.
• 1:18:16
  He does all the planning, he does the research.
• 1:18:18
  It's his responsibility to pull everything together so Cop, the
• 1:18:22
  director, can achieve his vision.
• 1:18:24
  Ari Abney, she's the production designer.
• 1:18:26
  She creates the maze, she creates the world in which
• 1:18:29
  everything takes place. Eames, obviously, we know he's a
• 1:18:31
  fortress, so he's the actor because he is impersonating
• 1:18:34
  people. Saito, he's the money man, so
• 1:18:36
  he's the studio. Everything that gets financed
• 1:18:38
  comes through him. And Fisher, he's the audience.
• 1:18:41
  This is what everything is being pulled together for, for his
• 1:18:45
  benefit, for his enjoyment. I also think of Youssef as like
• 1:18:49
  the technician as well. He's like ADP, he's got the
• 1:18:51
  technical element to it. And then you've got Arthur as
• 1:18:54
  well going back to the corridor fight.
• 1:18:56
  It's just like the producer scrambling through this maze,
• 1:18:59
  just trying to pull everyone together and tie the whole crew
• 1:19:01
  together. So it has.
• 1:19:02
  It's got all of these great elements.
• 1:19:05
  I reckon dual Silva's probably had a few fights in hotels
• 1:19:07
  before. Not like that.
• 1:19:12
  Though no, not like that. There's also some pretty trippy
• 1:19:16
  stuff going on with the character names.
• 1:19:18
  We mentioned how we had named names, but have you heard where
• 1:19:21
  the other character names come from?
• 1:19:23
  I have no idea where their names come from.
• 1:19:24
  No. So Cobb's first name is Dom and
• 1:19:28
  his main objective is to get home.
• 1:19:29
  In most Slavic languages, Polish, Russian, Serbian,
• 1:19:32
  Croatian, Dom means home. Right.
• 1:19:35
  Oh yeah, like domicile. Domestic, yeah.
• 1:19:38
  Yeah, exactly. Yeah.
• 1:19:39
  So Youssef is the Arabic name for Joseph in the Bible.
• 1:19:42
  Joseph is the person who interprets people's dreams, as
• 1:19:45
  in Joseph and his Amazing Technicolor Dreamcoat.
• 1:19:47
  Oh, nice one. Yeah, don't think.
• 1:19:50
  There'd be reference to that, to be fair.
• 1:19:52
  Should have cast Jason Donovan or Philip Schofield.
• 1:19:57
  Oh, imagine. And Mal comes from a French word
• 1:20:01
  maler, which means unhappiness. Another lovely reference is if
• 1:20:05
  you take the first letters of the main characters names, so
• 1:20:07
  you've got Dom, Robert, Ames, Arthur, Mal and Seitel, that
• 1:20:12
  spells out dreams. And then if you add Peter,
• 1:20:15
  Ariadne and Yusuf, the whole thing makes dreams pay, which is
• 1:20:19
  what they do. Is mind thieves really.
• 1:20:22
  So yeah. And I don't know how much I buy
• 1:20:23
  that. Can it be coincidental?
• 1:20:25
  Surely that's got to be in there for a reason.
• 1:20:29
  I mean, how much is crammed into this script?
• 1:20:31
  It's insane. Yeah, it really is.
• 1:20:33
  First thing at the seems. Yeah, there's a really good
• 1:20:36
  reference as well. There's a book by George Lanoff,
• 1:20:39
  which is called Don't Think of an Elephant, which is a book
• 1:20:41
  about cognitive semantics. So when he says if I say it to
• 1:20:44
  you, don't think about what you think of.
• 1:20:46
  It's a reference to that book, which I think I might get.
• 1:20:48
  That sounds really interesting. Lovely, you got plans to start
• 1:20:51
  manipulating people's minds? I've.
• 1:20:54
  Been doing it for years. You still need to know what am I
• 1:20:58
  even doing here. It's all a dream.
• 1:21:01
  It is. Noel himself says about writing
• 1:21:05
  the film. Inception burned inside me for a
• 1:21:08
  long time. The final piece of the puzzle
• 1:21:10
  was when I realized when you're dealing with the world of dreams
• 1:21:12
  in the psyche, there has to be emotional stakes.
• 1:21:15
  Hopefully I made that work. Definitely did.
• 1:21:24
  Nine years before production on Inception started, Nolan and
• 1:21:27
  Wally Fister were together for the first time on Mendo.
• 1:21:30
  Inception was their 6th partnership.
• 1:21:32
  So how does Wally Fister do as DP on Inception do you think?
• 1:21:35
  I think he's fantastic. I do.
• 1:21:37
  I honestly do. I think that since Wally Fister
• 1:21:40
  hasn't been working with Nolan, these films haven't got that
• 1:21:44
  real sense of clarity. They feel a little bit loose, a
• 1:21:48
  little bit more loose in the way that the shot.
• 1:21:50
  And I don't know whether that's his dedication more to IMAX
• 1:21:53
  white van. How Tom has come on is is DP now
• 1:21:56
  who's worked on everything since Interstellar.
• 1:21:58
  And you look at this point here and you just say, well, this is
• 1:22:00
  somebody at the top of the game. He's working.
• 1:22:02
  This is it just looks as good as any film has ever looked,
• 1:22:06
  really. It's it's superbly done.
• 1:22:08
  Yeah, I think it's classic Nolan Fister, isn't it?
• 1:22:10
  What I really like about Inception is the use of colour.
• 1:22:13
  Once we get into the three dream levels, it could be easy for
• 1:22:15
  audiences to become lost. So the three levels are coloured
• 1:22:18
  and lit to look different from each other.
• 1:22:20
  Yeah, level one in the van looks quite neutral and muted, Level 2
• 1:22:23
  in the hotel feels different with really warm hues and soft
• 1:22:26
  lighting, and Level 3 in hospital is much cooler and
• 1:22:29
  almost sterile. Obviously everything is white.
• 1:22:32
  I think the film as a whole looks fantastic and is up there
• 1:22:35
  with anything they've done together.
• 1:22:37
  I mean, it's working. It's obviously excellent, isn't
• 1:22:39
  it? He's got that ability that
• 1:22:41
  Norman really, really wants in a cinematographer to be very
• 1:22:46
  comfortable shooting with physical aspects of film as well
• 1:22:48
  as CG, which is what he clearly is.
• 1:22:50
  And that's why the two were blended together so perfectly.
• 1:22:53
  It's it's really impressive. Yeah, I think what help with
• 1:22:56
  that is that there was no second unit on Inception.
• 1:22:59
  Everything we see was shot with both Northern and Fista present.
• 1:23:02
  All right, so what's your favorite shot in the film?
• 1:23:05
  It's quite a small one in some ways, but it's that one of the
• 1:23:09
  van falling backwards off the bridge in slow motion.
• 1:23:12
  Just find it such a hypnotic, fascinating shot.
• 1:23:17
  Yeah, I mean, it looks great, but like the chord, I've seen
• 1:23:19
  it. It's got a place in the
• 1:23:21
  narrative as well. It's just that reminder of where
• 1:23:23
  the characters actually are, where they've started forming in
• 1:23:26
  terms of the dream. And so it keeps cutting back
• 1:23:28
  there. It ties the whole thing
• 1:23:30
  together. I just love it.
• 1:23:31
  Yeah, I was going to say a witch shot because we're seeing it
• 1:23:33
  about 400 times. That's fine.
• 1:23:37
  To be fair, though, it is a perfect way of giving us a
• 1:23:39
  visual countdown clock so we can see exactly how long the team
• 1:23:42
  has left. It works really, really well.
• 1:23:44
  Yeah, from that point of view. I love the way the techniques
• 1:23:46
  are used as well to reinforce the story.
• 1:23:49
  They're not using slow, more just to be flashy.
• 1:23:50
  Yeah. But my favorite shot is when the
• 1:23:53
  extracting sight or at the start and Cob is being pushed and he
• 1:23:57
  has the kick and he's in the bath.
• 1:23:59
  But it's when he's in actually in the dream, it's that shot
• 1:24:01
  from behind him and all the water starts coming in.
• 1:24:03
  Yeah. And he's just silhouetted
• 1:24:05
  against that water. I remember watching this IMAX,
• 1:24:08
  first time I'd seen it, and that shot came on and I just went,
• 1:24:11
  that's filmmaking, that's amazing, that's so exciting in
• 1:24:14
  literally, what, four or five seconds?
• 1:24:16
  Beautifully done. It is a great shot.
• 1:24:19
  So Inception came out one year after Avatar, which at the time
• 1:24:23
  was the highest grossing film ever made.
• 1:24:25
  Avatar was a 3D film and because of this, Warner Brothers asked
• 1:24:28
  Norman to make Inception in 3D. Norman refused and said we'll be
• 1:24:32
  too restricted by the technology and it will distract from the
• 1:24:34
  storytelling. Yeah.
• 1:24:36
  Would you like to have seen Inception in 3D?
• 1:24:38
  There's. Only like 2 bits.
• 1:24:39
  That would have worked, wouldn't it?
• 1:24:40
  There's the cafe explosions. That would have been great.
• 1:24:43
  And then the whole city folded in.
• 1:24:45
  If that city was looking like it was folding in on you, that
• 1:24:48
  would have been great. Terrifying, terrifying.
• 1:24:53
  You know, you can make the argument that you could create
• 1:24:56
  more of a surreal atmosphere in 3D to reflect the dreamscapes at
• 1:25:00
  the rain, but it wouldn't fit. Yeah, cannot imagine this
• 1:25:03
  serving the story at all well. The only film that warrants 3D
• 1:25:07
  that really works is Space Hunter Adventures in the
• 1:25:09
  Philippines, and that's fantastic because it doesn't
• 1:25:15
  even have a story. Doesn't matter.
• 1:25:21
  Boys work on Inception. Wally Fester won an Oscar, his
• 1:25:24
  first, and about Inception. He now says Chris wanted a
• 1:25:28
  naturalistic look in the photography to reinforce the
• 1:25:30
  notion the dreamers can feel incredibly real when we're in
• 1:25:33
  them. I kept things simple and not
• 1:25:35
  overlit and tried to find the beauty in natural light.
• 1:25:38
  Job done, I think. Yep.
• 1:25:40
  Yeah, definitely. One long term Nolan collaborator
• 1:25:48
  to another. Hans Zimmer had previously
• 1:25:49
  scored Batman Begins in The Dark Knight, so this was their third
• 1:25:52
  partnership as director and composer.
• 1:25:54
  Johnny Moore plays guitar on the score as well.
• 1:25:56
  Yeah, he does better than anything he's done for the
• 1:25:59
  Smith. I've never.
• 1:26:03
  I. Fucking do.
• 1:26:07
  So what do we think of Zimmer's music in Inception?
• 1:26:10
  I think it's very Hans Zimmer, isn't it?
• 1:26:11
  I mean, it's just ultimately and immediately recognizable.
• 1:26:15
  It's big. It sounds as big as it looks.
• 1:26:17
  It's just huge. The whole score is just so
• 1:26:19
  sweeping and so dramatic. I went and did the Big Shop
• 1:26:23
  yesterday and I had this soundtrack on Asda.
• 1:26:25
  Never been so interesting. I was walking around just like I
• 1:26:28
  thought everything must be subconscious and I was just like
• 1:26:30
  jeez, this is huge. But it's superb.
• 1:26:32
  My favorites in my school. I can't recall another score
• 1:26:36
  that just seemed so immediately iconic as this one.
• 1:26:40
  Just after this, it just seemed like it was everywhere, almost
• 1:26:43
  to the point now where it almost feels like it's a parody of
• 1:26:45
  itself because it's been ripped off so many times.
• 1:26:49
  But it is incredible. It's massive.
• 1:26:51
  That's the words. I've got to get it because it
• 1:26:53
  just feels like he's restrained it in terms of like
• 1:26:55
  orchestration. I don't think there's like loads
• 1:26:57
  of instruments in there, but the instruments that he is using,
• 1:27:00
  he's just amped them up and it always feels like it's a wave
• 1:27:04
  kind of rolling over here, the music and this.
• 1:27:06
  It's like IMAX for your ears. Isn't it Emax?
• 1:27:11
  Yeah, yeah, Max. Yeah, Max doesn't sound as good.
• 1:27:16
  Get the cotton bud. There's a piece of music not
• 1:27:19
  composed by Hans Zimmer which crops up where Edith PF's Nausea
• 1:27:22
  and Regretta Ria is used by the team to initiate a kick when
• 1:27:25
  they want to wake up or move up from layers.
• 1:27:28
  We hear it most the way through the film.
• 1:27:31
  A slightly unexpected choice, maybe?
• 1:27:33
  No, that's the original.
• 1:27:56
  It's just one of those decisions where you've just got to sit
• 1:27:59
  back and applaud them for it because where did that concept
• 1:28:02
  come from? How did they even think of that?
• 1:28:05
  And it's kind of like what I said at the beginning about the
• 1:28:07
  technology that they use. I love how in this high concept
• 1:28:11
  sci-fi futuristic thriller, they use a song from the 1930s as the
• 1:28:16
  countdown. Like just.
• 1:28:21
  Much. It is it.
• 1:28:24
  It's one of these things. It just baffles me in a good way
• 1:28:28
  that didn't think, oh, we'll do what the Matrix did.
• 1:28:31
  Get the dust brothers in now. Get like a techno track.
• 1:28:33
  Thank God for. That, Yeah.
• 1:28:34
  Thank God for that, Yeah. But it's something really slow
• 1:28:38
  and mournful. It's brilliant.
• 1:28:40
  I think it's a great choice. I like how the song taps into
• 1:28:42
  the themes of the movie, memories, regret and moving on
• 1:28:45
  from regret. And there's a classic northern
• 1:28:47
  touch in there as well, where nausea and regret, a Rihanna is
• 1:28:50
  2 minutes, 28 seconds long and Inception is 2 hours, 28 minutes
• 1:28:53
  long. So Nolan edited the film so the
• 1:28:56
  length reflected the song. That's ridiculous.
• 1:28:59
  I love everything about that choice.
• 1:29:00
  I think this would have been there when he was writing the
• 1:29:03
  script, to be honest. It is so reflective of the
• 1:29:06
  themes. I don't think this was an
• 1:29:07
  afterthought. I think that was baked in.
• 1:29:09
  And I did read somewhere that he was thinking about changing when
• 1:29:11
  he cast Marianne Coulter because she did play Edith PF and she
• 1:29:15
  sang this song as part of that role and he thought it would be
• 1:29:18
  too much. But I think it's worked the
• 1:29:20
  other way. I think if you look at Marianne
• 1:29:22
  Coulter, that is the song that you hear when you see her, for
• 1:29:24
  her to remind Dom of her and to use it as the kick.
• 1:29:28
  And I think he's chose that song because it reminds him of Mal,
• 1:29:30
  to be honest. Yeah, it was actually Zimmer who
• 1:29:33
  convinced Nolan to keep it after we thought about getting rid of
• 1:29:35
  it because he had doubts about how it might fit.
• 1:29:37
  And did you know that the score that Zimmer wrote basically
• 1:29:39
  begs, borrows and steals from Non General Regretta Riyadh?
• 1:29:42
  Yeah. So knowing that Nolan was using
• 1:29:44
  that song and knowing the time moves at different speeds
• 1:29:46
  depending on which dream level you're in.
• 1:29:48
  Zimmer based various pieces of music in In Inception on how Non
• 1:29:52
  general Regretta Riyadh sounds played at slower speeds.
• 1:29:55
  Yeah, you hear all the way through the film, don't you?
• 1:29:56
  That's where them bongs come from.
• 1:30:00
  Yeah. Well, if anyone that hasn't,
• 1:30:02
  we've got you covered. So this is non general regretta.
• 1:30:04
  We are slow down alongside Zimmer's inception score.
• 1:30:07
  So have a listen to this. I mean, how great is that when
• 1:30:32
  you hear those two side by side, it's.
• 1:30:34
  Just so good. I remember Matt, you text us
• 1:30:36
  about that because we're talking about what being say it and you
• 1:30:39
  are just like, did you know what this and I was like, shit,
• 1:30:41
  you're like, that just makes this like 10 times better.
• 1:30:43
  I was like, oh, how much more we're going to find out about
• 1:30:45
  this. We're still learning about it.
• 1:30:47
  It's just so good. And we can't talk about the
• 1:30:49
  score to Inception without mentioning time, which is one of
• 1:30:52
  the pieces in my wrote. It's used throughout the film,
• 1:30:55
  but most powerfully at the end when the team wake up on the
• 1:30:57
  plane with the mission accomplished and in the final
• 1:30:59
  scene of the movie. So what do you think of time as
• 1:31:02
  a piece of music in the film? I think it's one of my favorite
• 1:31:05
  pieces of of soundtrack in recent years, to be honest.
• 1:31:10
  It's superb. It's so big.
• 1:31:12
  I love that guitar part. It just adds to it.
• 1:31:15
  Zimmer's written this many times, this composition, this
• 1:31:19
  chord progression, this sound, the strings, everything.
• 1:31:22
  I mean, if you watch 12 Years a Slave, when Solomon comes back
• 1:31:25
  at the end, there's a track called Solomon, which is pretty
• 1:31:26
  much without the guitar part. Yeah, but this feels like he's
• 1:31:31
  been trying to get this to sit over a film that would really,
• 1:31:35
  really work. And it does here.
• 1:31:36
  This is just perfect. From the minute they wake up on
• 1:31:39
  that plane and it builds and it builds and you see them all kind
• 1:31:42
  of looking at each other and it just plays over the final
• 1:31:44
  sequence. It's just wonderful.
• 1:31:46
  It's probably going to be my funeral
• 1:32:00
  song, to be honest. I'll get it in there.
• 1:32:03
  It's straight and as the curtains are shutting on the
• 1:32:05
  coffin, it's just and I'll come back.
• 1:32:08
  But before that, it's the Braveheart soundtrack in full.
• 1:32:10
  OK. In full.
• 1:32:12
  Then it ends with time. Oh yeah, you'll be there a
• 1:32:14
  while. After inceptions, in my work
• 1:32:17
  with Nolan again on The Dark Night Rises, Interstellar and
• 1:32:19
  Dunkirk, and for composing the Inception score, he was
• 1:32:22
  nominated for an Oscar. Do you know who won that year?
• 1:32:26
  Whoever did The King's Speech? No, it wasn't The King's Speech.
• 1:32:29
  It was Trent Reznor and Atticus Ross.
• 1:32:32
  Social network. Social network shit, yeah.
• 1:32:34
  That is a great score, The social network.
• 1:32:36
  Yeah, that's fantastic. To finish with Hans Zimmer, the
• 1:32:38
  great German himself says about Inception.
• 1:32:41
  I never told Chris what part of the film I'd written a piece
• 1:32:43
  for. He used them where he thought
• 1:32:45
  best, and it all synced up with what I'd written, which was
• 1:32:48
  gratifying. Oh.
• 1:32:48
  Nice. Inception is a Rock'n'roll
• 1:32:51
  score. Right.
• 1:32:52
  Should have got Jimmy Page on guitar then.
• 1:32:56
  Kashmir, get out of here. Slow that down.
• 1:33:03
  Making movies is a collaborative creative process and no one
• 1:33:06
  understands that as well as anyone.
• 1:33:08
  He always surrounds himself with some of the best names out
• 1:33:10
  there. Oh, absolutely.
• 1:33:11
  Yeah, yeah. Yeah.
• 1:33:19
  Swinging back and forth the end of Inception roller coasters as
• 1:33:23
  the team's plan falls apart, comes back together, then falls
• 1:33:26
  apart again. We're heading to the crazy world
• 1:33:28
  of Limbo and discussing the most famous ambiguous ending of the
• 1:33:31
  century. But at first, it's Dream Level
• 1:33:33
  3. There's no hospital.
• 1:33:35
  Yeah. After telling Fisher they're
• 1:33:38
  going into Browning subconscious, the team heading
• 1:33:40
  to Eames Dream to explore Fisher's subconscious.
• 1:33:43
  In Dream Level 3, we have James Bond inspired snow hospitals and
• 1:33:46
  skate chases, gunfights, and the team complete the mission by
• 1:33:50
  performing Inception on Fisher Dream Level 3.
• 1:33:54
  Then do we still know what's going on?
• 1:33:56
  Yeah, just about, I think, you know, yes, by this point,
• 1:33:59
  obviously well into the dream levels.
• 1:34:01
  For me, it gets off to a great start just through the set and
• 1:34:03
  I've always got like a soft spot for anything that set in like
• 1:34:07
  mountainous, wintry, snowy landscape because I think it
• 1:34:10
  just automatically, it already looks really cinematic.
• 1:34:13
  You mentioned the Bond influence.
• 1:34:14
  I think this section is why people always want Nolan to make
• 1:34:17
  a Bond film because this is his basic mini Bond film he's really
• 1:34:20
  making on her. Matches his Secret Service here.
• 1:34:22
  Yeah, that's his favorite Bond film, I think.
• 1:34:25
  Yeah. And the third in the influences
• 1:34:26
  of the levels, that's what I was going to say, is that this one's
• 1:34:29
  on a major Secret Service. Definitely.
• 1:34:30
  The only thing I would like a little bit more of just some
• 1:34:34
  kind of surreal aspect, like you get the training level one.
• 1:34:38
  I think there is room just for something.
• 1:34:40
  Doesn't have to be massive, just some kind of parallel that comes
• 1:34:43
  out of nowhere because it's just getting a little bit
• 1:34:45
  straightforward here for my liking it.
• 1:34:47
  Apart from that, it's really great.
• 1:34:50
  Yeah, I agree with all that. I think it would be nice to have
• 1:34:52
  something surreal happen in this level, which we don't really
• 1:34:54
  have, like the revolving corridor or the train smashing
• 1:34:57
  through the cars. But I think it looks great going
• 1:35:00
  from the tight corridors and level 2 to the huge mountains
• 1:35:03
  and wide open spaces in Level 3. And that hospital they built is
• 1:35:06
  incredible. They built that hospital is a
• 1:35:08
  real set on a mountainside in Alberta and Canada and also was
• 1:35:12
  a 20 foot scale model. And the moment the hospital is
• 1:35:15
  destroyed, they blew up the set, but Nolan wasn't happy with how
• 1:35:18
  it looked. So they blew up the miniature
• 1:35:20
  and Nolan wasn't happy with how it looked.
• 1:35:22
  So the building entirely new 20 foot model just so they could
• 1:35:25
  blow it up. Harry.
• 1:35:26
  Kubrick. And also the cross cutting, I
• 1:35:31
  think in the climax between the three dream levels is
• 1:35:34
  masterfully done. It's a bit of a northern
• 1:35:36
  trademark cross cutting between plot threads in the final act.
• 1:35:39
  And this is one of the best examples.
• 1:35:40
  I think the urgency levels between each thread match up
• 1:35:43
  perfectly and all ramps up together.
• 1:35:45
  It's really, really well done. Really well Applaud.
• 1:35:48
  Yeah, it's a really impressive final level, isn't it?
• 1:35:51
  All these snow shootouts are all the same though, aren't they
• 1:35:53
  really? You know, you've got the snow
• 1:35:55
  bikes, you've got the ropes going across the trees, people
• 1:35:57
  are getting taken off a van full of them jumping out.
• 1:36:00
  It's a die hard two. And then it's like all these
• 1:36:03
  different kind of action films just smashed together.
• 1:36:05
  But it's just a celebration of them.
• 1:36:07
  It's you don't really feel like he's written anything off.
• 1:36:09
  And there's that picture as well.
• 1:36:10
  And did you know that was actually Cillian Murphy posing
• 1:36:12
  in that picture with a Tash on? Oh, is it really?
• 1:36:15
  Yeah, to play the younger puzzles with.
• 1:36:17
  All right. Oh great.
• 1:36:18
  So that's really nice. But then as it comes up, the
• 1:36:21
  layers, it's so rewarding when you see everybody falling at the
• 1:36:24
  ground, waking up, going on the lift, wig and up again and the
• 1:36:27
  thought everything through and you just think that this is just
• 1:36:29
  so fucking clever. Everything, emotional, impact,
• 1:36:32
  action, it's fantastic. One of my favourite end in
• 1:36:35
  Stanley film really. It does tie everything together
• 1:36:37
  at the end because there's so many threads that we need to get
• 1:36:39
  pulled into one place. And he does it so well.
• 1:36:42
  Absolutely fantastic. Also, when Youssef drives the
• 1:36:46
  van off the bridge in level one, there's an avalanche in Level 3,
• 1:36:48
  isn't it? Yeah.
• 1:36:49
  Yeah. So that was a real avalanche.
• 1:36:51
  The detonated explosives on the mountain top which caused the
• 1:36:54
  avalanche. OK, wiped out an entire town.
• 1:36:57
  Shut up man. Fucking hell, I was like, I'm
• 1:37:03
  sure I would have heard about that.
• 1:37:05
  But it is a real avalanche that the dead cause intentionally
• 1:37:08
  takes no prisoners doesn't all in when it comes to his movies.
• 1:37:10
  But that does look impressive. That avalanche, the spectacle of
• 1:37:13
  it's massive. You can tell it's real.
• 1:37:15
  Yeah. Superb.
• 1:37:22
  After Marle appears from Cobb subconscious and kills Fisher
• 1:37:24
  Cobbin, Ariadne follow him in Limbo for the climax of the
• 1:37:27
  film. The ending of Inception sees
• 1:37:29
  Carl with himself of Marle, rescue Sido from Limbo and
• 1:37:33
  return home to his children. Or does he?
• 1:37:37
  Here we go. Should we talk about the
• 1:37:38
  sequences of Limbo first of all? I like it.
• 1:37:41
  I think it's great. The fact that it's all just
• 1:37:44
  decaying, it's deteriorating. His subconscious isn't as strong
• 1:37:48
  as it used to be. Everything around him is falling
• 1:37:50
  apart, but he still doesn't really acknowledge that, you
• 1:37:53
  know? And then when he gets there
• 1:37:54
  again, you know, it's one of your favorite, favorite
• 1:37:56
  sequences in the whole film. That conversation between them,
• 1:37:59
  when you finally realize that we've seen one Inception and
• 1:38:01
  it's worked, but this is the real one.
• 1:38:03
  I really get the emotion in this scene really fucking got me.
• 1:38:07
  When I watched it the other day, I was like, this is just so
• 1:38:10
  true. Anyone else would have just
• 1:38:12
  ended it with them kicks coming through and then waking them up
• 1:38:15
  on the plane and just be like, that's the end of the film.
• 1:38:17
  That would be good enough for any of the filmmaker out there,
• 1:38:19
  I think. But Nolan takes it that extra
• 1:38:21
  element. Love it.
• 1:38:22
  Yeah, that final conversation between Cobb and Mall is pretty
• 1:38:26
  great, and it's got loads of power.
• 1:38:27
  A little when they first get into limbo.
• 1:38:29
  And you sort of mentioned it there, Wesley, when the
• 1:38:30
  buildings are all crumbling into the sea, that looks just so
• 1:38:33
  grey. I mean, that's all CGI.
• 1:38:35
  And that's to me how you use CGI, because it looks incredible
• 1:38:38
  still to this day. And he now sees mall as that
• 1:38:41
  version that is hard to move away from.
• 1:38:44
  And it just says you're not good enough.
• 1:38:45
  I'm sorry I'm not good enough to remember you with all of your
• 1:38:47
  complexities and all of your flaws.
• 1:38:49
  It's just so fucking beautiful, man.
• 1:38:51
  Dicaprio's delivery of that line is just sensitive.
• 1:38:54
  Oh yeah. So good.
• 1:38:55
  Yeah. I love how it's all about
• 1:38:58
  Coleman and Mal. You don't need any other
• 1:39:00
  character in there. Everyone else's storyline is
• 1:39:02
  done. So it completely suits the
• 1:39:04
  narrative at this point that Limbo is completely devoid of
• 1:39:08
  anyone else, because that's what it's been coming down to right
• 1:39:12
  then. Here we are.
• 1:39:14
  Should we talk about that final shot?
• 1:39:16
  Yes, please. So Inception has one of the most
• 1:39:19
  famous ambiguous endings in films.
• 1:39:21
  Cobb returns to America and is reunited with his children.
• 1:39:24
  The final shot in the film slowly Pines in the Cobb
• 1:39:27
  spinning top and cuts the black before we see if it falls or
• 1:39:30
  not. Nolan said about it.
• 1:39:32
  I put that cut there at the end and posing an ambiguity from
• 1:39:35
  outside the film that always felt the right ending to me.
• 1:39:38
  I mean, it's a fantastic way to end the film.
• 1:39:41
  The big question and one our page when Matt Lummers asked is
• 1:39:45
  called back in reality or is he still dreaming?
• 1:39:48
  Matt, what's your interpretation?
• 1:39:50
  I think as well as what Nolan has actually gone on record to
• 1:39:54
  say, I think he's having a little bit of a laugh and I
• 1:39:58
  think he's seen an opportunity just to tweak the audience right
• 1:40:02
  at the end to make sure that everybody is going to go out and
• 1:40:05
  go. But what did that mean?
• 1:40:07
  What did that mean? Which everyone does.
• 1:40:10
  Which one does? Yeah.
• 1:40:11
  Of the opinion that everything happens exactly as we've seen it
• 1:40:15
  happen, I don't think there's enough of a strong indication
• 1:40:19
  that he is still in a dream. I think he's been honest with
• 1:40:23
  us, he's been straight down the line.
• 1:40:24
  He hasn't been deceitful in the way he's presented defence.
• 1:40:27
  I think he's in reality at the end.
• 1:40:31
  I think there's no shot ever that is so simple, but being
• 1:40:34
  talked about as much as this one because Nolan tells the story
• 1:40:37
  well. Then DiCaprio plays it so well.
• 1:40:39
  Cobb being reunited with his kids already has power, sort of.
• 1:40:42
  Then pan to the top and say, or is it?
• 1:40:45
  It's just genius, absolute genius.
• 1:40:48
  But I've got another quote from Nolan on this where he said I've
• 1:40:51
  been asked the question more times than I've ever been asked
• 1:40:54
  any other question about any other film.
• 1:40:56
  What's funny to me is that people really do expect me to
• 1:40:59
  answer it. So he's never going to tell us,
• 1:41:02
  and I hope he never does. My interpretation is the same as
• 1:41:05
  Matt. Cobb isn't dreaming, he's back
• 1:41:07
  in the real world. And to be honest, I don't think
• 1:41:09
  that for any reason other than it's what I want to believe, I
• 1:41:13
  like Cobb. The emotion DiCaprio portraits
• 1:41:15
  in this scene when Cobb sees his kids with hardly any words is
• 1:41:17
  incredible. And I want Cobb to have a happy
• 1:41:20
  ending. So for me, he's back home
• 1:41:22
  basically because I want him to be in Westy.
• 1:41:27
  Yeah, you're smoking thinking I'm going to come up with
• 1:41:28
  something ridiculous. Well, to me, this is all about
• 1:41:35
  the assassination of JFK. No, I believe he's in reality.
• 1:41:41
  You're missing the point if you're focusing on that spin and
• 1:41:43
  talk. Because he's not anymore.
• 1:41:45
  He's in the reality that he is chosen.
• 1:41:47
  He is in his happy reality. So whether that's a dream or
• 1:41:50
  not, it really doesn't matter. It's the fact that he's
• 1:41:53
  exorcised the demons and I think everyone misses the glaring
• 1:41:57
  point that it's not even his totem.
• 1:41:58
  That's Mal's totem. And there's a lot of talk and
• 1:42:01
  what I really believe in is that his actual totem is his wedding
• 1:42:04
  ring. He would know the weight, he
• 1:42:06
  would know the size and every time he's in a dream sequence,
• 1:42:09
  he is wearing that wedding ring. And you see when he hands his
• 1:42:11
  passport over at the end, there's no ring on there.
• 1:42:14
  When Michael Caine said he was interviewed and he said that
• 1:42:17
  Chris Nolan told him if he was in a scene, it was reality.
• 1:42:20
  If he wasn't in a scene, it was a dream.
• 1:42:22
  And the final thing I'll say that reinforces it, in my
• 1:42:24
  opinion, is that one of the major themes is how did you get
• 1:42:27
  here? It's how he convinces Ariadneish
• 1:42:29
  is in a dream. It's how he convinces fisheries
• 1:42:31
  in a dream when he's in the hotel room.
• 1:42:33
  How did you get here? You can always land in the
• 1:42:35
  middle. We see them land the plane, go
• 1:42:38
  through customs, arrive at home. You know exactly how we got
• 1:42:41
  there. Yeah, with some start, middle
• 1:42:43
  and end. This is the end.
• 1:42:45
  He's in reality. There's nothing more to talk
• 1:42:47
  about. The top fell.
• 1:42:48
  Of course it did. It wobbles a bit at the end.
• 1:42:50
  Anyone's got anything else to say?
• 1:42:51
  Then stick it on Twitter. That give us a shout.
• 1:42:54
  But he's in reality. That's it.
• 1:42:55
  We'll solve the problem. End of story.
• 1:42:57
  He will ignore it though. He'll get no reply.
• 1:43:01
  Maybe some insults? You can invoices for the mic
• 1:43:03
  because I'm going to drop it. Now I'm convinced you've got
• 1:43:09
  lovely. It is quite interesting in the
• 1:43:11
  end though, because like Nolan says and what you said there was
• 1:43:14
  he is this, the significance of the thing isn't about whether
• 1:43:17
  he's dreaming or whether he's in reality.
• 1:43:18
  It's about the fact that he's ignoring a spinning top.
• 1:43:20
  So whoever he is, he's accepted that as reality.
• 1:43:23
  And that raises all sorts of other questions, like if he is
• 1:43:26
  in a dream and he's accepted it as reality, does that matter?
• 1:43:28
  No, I don't think it does. I think it matters.
• 1:43:30
  Is he happy? Is he content as a person?
• 1:43:32
  Because what is reality? Exactly.
• 1:43:34
  Exactly. The reality is what you choose
• 1:43:36
  it to be, because nothing's really a reality.
• 1:43:39
  Everything's a construct of something.
• 1:43:40
  It's what you choose. But what did throw a spanner in
• 1:43:43
  the works for me is that people have argued that he's back in
• 1:43:46
  limbo, that you never actually got out of limbo.
• 1:43:49
  Right? And the point that reinforces
• 1:43:51
  that is that I put the captions on so I can see the subtitles
• 1:43:55
  because I need to know what the kids are saying at the end
• 1:43:57
  because it sounds so exciting. So do you know what they say,
• 1:43:59
  what your son says to him? No.
• 1:44:01
  No, it's hard to make out, wasn't it?
• 1:44:03
  Yeah. And he says to them, what you
• 1:44:04
  guys been doing? And his son turns around and
• 1:44:07
  says we're building a house on a Cliff that is limbo.
• 1:44:09
  Yeah, yes, I do. Houses on the Cliff, isn't it?
• 1:44:12
  So you could arguably say it, he's still in limbo and that's.
• 1:44:14
  All there's hard in what's going on.
• 1:44:18
  Can I change my answer please? That's a spanner in the works.
• 1:44:22
  So I've kind of just give you both answers.
• 1:44:24
  So just change what you want. It really do a spanner in the
• 1:44:29
  works for me. Last day I was like, oh for
• 1:44:30
  fuck's sake, what did I do that for?
• 1:44:33
  I've been sitting on this where Matt was going.
• 1:44:35
  His dialogue is not memorable. It fuck it is now.
• 1:44:39
  Yeah, that's pretty great. To be fair, there's something
• 1:44:44
  else Nolan does after the final shot, which is great.
• 1:44:47
  So as the end credits roll, the title Inception appears three
• 1:44:50
  times. This represents moving up the
• 1:44:53
  three dream levels. And as the credits finish, he
• 1:44:55
  plays nausea and regret area again, which is a signal of the
• 1:44:58
  audience is waking up from the dream that is the film.
• 1:45:01
  Yeah. Which is pretty awesome.
• 1:45:03
  Yeah. So they have it.
• 1:45:05
  The team perform Inception and Covert turns home to his
• 1:45:08
  children, or doesn't, and is back in reality.
• 1:45:12
  Or isn't. We've answered that pretty
• 1:45:14
  conclusively, I think. How's the film even finished?
• 1:45:19
  I mean, to quote Morgan Freeman in Seven, I think we've brought
• 1:45:22
  this to as close of a conclusion as humanly possible.
• 1:45:27
  But there is something that I've been sitting on this all the way
• 1:45:30
  through it. It's one final thing that I've
• 1:45:32
  researched it and I've definitely got the answer.
• 1:45:34
  Go on. Go on then.
• 1:45:35
  It's. Reception and awards.
• 1:45:46
  Production companies and studios only tend to spend bigger movies
• 1:45:49
  nowadays when they're part of an existing IPA sequel, a reboot or
• 1:45:53
  a novel or comic book adaptation.
• 1:45:55
  Unless, of course, you're Christopher Nolan.
• 1:45:58
  Yeah, Sue Crawl was the president for Warner Brothers
• 1:46:01
  Worldwide marketing team and said about the release of
• 1:46:03
  Inception. We didn't have the brand equity
• 1:46:05
  that usually drives a big summer opening, but we had a great cast
• 1:46:08
  and a fresh idea from a film maker with a track record of
• 1:46:11
  making incredible movies. Christopher Nolan was a brand.
• 1:46:14
  If you can't make those elements work, it's a sad day.
• 1:46:18
  He's at that level, isn't he? His name is like a brand mark
• 1:46:20
  and he has consultants. Yeah, exactly.
• 1:46:22
  I mean, I don't think any of the director could have got people
• 1:46:25
  out of the fear of, you know, the virus that's flying around
• 1:46:29
  and locked down and going back into a cinema to watch tennis.
• 1:46:32
  I mean, we couldn't even get together to discuss anything to
• 1:46:34
  do with this. But he brings a film out and
• 1:46:36
  it's like, yeah, let's get out. You know, everyone's terrified
• 1:46:39
  to go to the shops, but like, tennis outright.
• 1:46:41
  Fuck that. I'll take me transit too, right?
• 1:46:46
  So a huge $100 million marketing campaign was put in place.
• 1:46:50
  And that's not the initial trailer for Inception in 2009.
• 1:46:53
  The movie was everywhere. Do you remember that at the
• 1:46:56
  time? I remember the trailer very,
• 1:46:58
  very vividly. I remember seeing that, and on
• 1:46:59
  the big screen I remember thinking, this looks like
• 1:47:02
  something I've never really seen before.
• 1:47:05
  I don't understand what this could possibly be about.
• 1:47:07
  It's a lesson on how you do a trailer, really.
• 1:47:09
  It's blueprint. It's amazing.
• 1:47:12
  But with that trailer, Hans Zimmer hadn't yet written the
• 1:47:14
  score, so they had some original music composed just for the
• 1:47:16
  trailer, which is pretty unusual.
• 1:47:19
  That music is called Mind Heist and was written by a composer
• 1:47:21
  called Zach Hemsi. It went down so well that it
• 1:47:24
  went viral and thousands of mash ups appeared online where people
• 1:47:27
  had laid that score over other classic trailers.
• 1:47:30
  So you can see what I mean. There's an example from a film
• 1:47:33
  you might know here. So listen, you smell something.
• 1:47:39
  Ray, for a moment, pretend that I don't know anything about
• 1:47:44
  metallurgy, engineering, or physics and just tell me what
• 1:47:48
  the hell is going on. The city is headed for a
• 1:47:55
  disaster of biblical proportion. What do you mean biblical?
• 1:48:06
  Serious Ghostbusters there. What do you think of that?
• 1:48:10
  I think it's great. It makes it look better than
• 1:48:12
  Ghostbusters too, which it is terrifying when you see the
• 1:48:19
  Marshmallow man at the end. They're stomping along.
• 1:48:21
  Fucking hell. Imagine that was the actual
• 1:48:23
  trailer and you went to see it and it was Ghostbusters Lords of
• 1:48:26
  Laughs. Yeah, you'd be furious.
• 1:48:29
  You'd be relieved. So in terms of how Inception
• 1:48:34
  performed, the production budget for the film was $160 million.
• 1:48:38
  Nolan brought it in both under budget and within schedule, and
• 1:48:42
  the film grossed $826,000,000 worldwide, making it the fourth
• 1:48:46
  highest grossing movie of 2010. Do you know what was highest
• 1:48:49
  that year? It.
• 1:48:51
  Was Toy Story 3 out there? It was Toy Story Three.
• 1:48:53
  Yeah, there. You go.
• 1:48:54
  Harker took just over $1 billion critically.
• 1:48:58
  Inception performed well, too. Roger Ebert gave the film four
• 1:49:01
  stars out of four and said the movie is all about process,
• 1:49:04
  about fighting our way through enveloping sheets of reality and
• 1:49:07
  dream. It is a breathtaking juggling
• 1:49:10
  act. Few directors will attempt to
• 1:49:11
  recycle Inception because when Nolan left the labyrinth, he
• 1:49:14
  threw away the map. Yeah, it isn't.
• 1:49:17
  That is nice. Praise for me, but lovely.
• 1:49:19
  About time. Mark Moore named Inception is
• 1:49:24
  the best movie of 2010 and said Inception is proof that people
• 1:49:29
  are not stupid, that cinema is not trash, and that it's
• 1:49:32
  possible for blockbusters and art to be the same thing.
• 1:49:35
  Yeah, lovely. That from MK, Yeah.
• 1:49:38
  Really nice. Yeah, not everybody was a fan,
• 1:49:40
  and Rex Reed of the New York Observer said Inception.
• 1:49:43
  It's pretty much what we've come to expect from summer movies in
• 1:49:46
  general and Christopher Nolan movies in particular.
• 1:49:48
  It doesn't seem like much of an accomplishment to me.
• 1:49:51
  Wow, really? What does he want?
• 1:49:53
  I mean, if you don't like the film, that's fine, but if you're
• 1:49:55
  a film critic and you can't even recognise how this film achieves
• 1:49:58
  some impressive things, then what you're doing, yeah.
• 1:50:01
  You're in the wrong draw you. Have to know what his top three
• 1:50:02
  is. Christ.
• 1:50:06
  On Rotten, Tomato's Inception has 87% and it's summary says
• 1:50:10
  smart, innovative and thrilling. Inception is that race summer
• 1:50:13
  blockbuster that succeeds viscerally as well as
• 1:50:16
  intellectually. Yeah.
• 1:50:18
  And that IMDb Inception has an enormous 8.8 out of 10, which
• 1:50:24
  makes it, according to IMDb, the 9th greatest movie ever made.
• 1:50:28
  Yep, it's up there. Really.
• 1:50:29
  That high? I would have said so, yeah.
• 1:50:33
  Wow. At the Oscars, Inception won
• 1:50:34
  four Best cinematography for Wallyfister, best sound editing
• 1:50:37
  for Richard King, best sound mixing for Laura Hirschberg,
• 1:50:40
  Gary A Rizzo and Ed Novick, and best visual effects for Chris
• 1:50:44
  Cobald, Paul Franklin, Andrew Lockley and Peter Beb.
• 1:50:47
  And it was nominated for four, which were best pitcher, best
• 1:50:50
  original Screenplay, Best art Direction and Best original
• 1:50:53
  score. Is that all fair?
• 1:50:55
  How we did it at the Oscars. I don't think anyone was ready
• 1:50:58
  for it. I think if this came out now, it
• 1:51:02
  would just be like Jesus Christ. It would get everything.
• 1:51:04
  It baffles me that you know Nolan doesn't get a direct
• 1:51:07
  nomination for. This I know, yeah.
• 1:51:09
  What he's done? How is that not in that select
• 1:51:11
  group? It's an original story, it's
• 1:51:12
  pretty much about Phil, Megan and for the Academy not to
• 1:51:15
  recognise that or see it, there's a joke really.
• 1:51:17
  Yeah, I mean, I think blockbusters and science fiction
• 1:51:19
  have been overlooked for years and decades, haven't they?
• 1:51:22
  Oh yeah. Yeah, of course they have.
• 1:51:24
  Yeah. So Inception was fantastically
• 1:51:26
  well received at the time of its release.
• 1:51:28
  A huge smash hit, critical and public acclaim almost across the
• 1:51:31
  board, and performing pretty well at the award ceremonies.
• 1:51:34
  Good, so it should have. Not bad.
• 1:51:40
  Sequels and influence. After the release and successive
• 1:51:44
  inception, there was a spurt of high concept science fiction
• 1:51:47
  movies that played around with time.
• 1:51:49
  Lupa Source Code in the Edge of Tomorrow were the most
• 1:51:52
  acclaimed, and Marvel's Doctor Strange shamelessly ripped off
• 1:51:55
  the cityscape twisting moment from inception, Yeah.
• 1:51:58
  Yeah, it does. That was pretty short lived,
• 1:52:00
  though, and Inception rip offs faded pretty quickly.
• 1:52:02
  And that's basically because studios won't give film makers
• 1:52:05
  $160 million to make an original idea unless you're Christopher
• 1:52:08
  Northern. Yeah.
• 1:52:10
  Do you think studio has a right to do that?
• 1:52:11
  Is there just not an audience for original ideas anymore?
• 1:52:14
  No, I think there absolutely is. Look at the amount of money that
• 1:52:18
  Inception made, and the conversation doesn't end there.
• 1:52:21
  Think of last year. Knives Out, completely original
• 1:52:24
  film that made loads of money, was hugely well received by
• 1:52:28
  critics. No so much more.
• 1:52:29
  There's going to be a sequel. Look how excited we get when
• 1:52:33
  there's going to be a new Tarantino film.
• 1:52:35
  Look at Ed Gride, Paul Thomas Anderson.
• 1:52:37
  It's always a huge event. So I think there's absolutely
• 1:52:41
  the audience out there for them. But I have something out there
• 1:52:44
  that is original. I think people absolutely want
• 1:52:46
  to have that experience. I just think studios are
• 1:52:49
  probably scared of throwing that much money at a director because
• 1:52:53
  I think they will take the position, probably wrongly, that
• 1:52:55
  having an IP to fall back on makes it more safe.
• 1:52:58
  I don't think that's necessarily true.
• 1:53:01
  But also The thing is, these original ideas are pretty rare.
• 1:53:05
  Not everyone is Enolan, Ryan Johnson, Tarantino.
• 1:53:08
  Look at those guys and look how long it takes them in between to
• 1:53:11
  make films, because it takes them that long to get the idea
• 1:53:15
  and to follow that idea through. So yeah, absolutely.
• 1:53:19
  There's an audience out there, but it takes a lot of talent to
• 1:53:24
  get something that's worthy of that audience.
• 1:53:27
  Yeah, I think there's a lot of factors, isn't it?
• 1:53:29
  I think the whole industry's changed in responses to
• 1:53:31
  everything. I don't think cinema is as
• 1:53:33
  popular as it used to be. I think ticket prices have been
• 1:53:36
  a real problem for people. But the other factor is this
• 1:53:40
  isn't Chris Nolan's first film, and he couldn't have made this
• 1:53:43
  after The Prestige. You got to do The Dark Night,
• 1:53:46
  basically. And then people went, oh, holy
• 1:53:47
  shit. Well, yeah, you can do it.
• 1:53:49
  There's some money. It's the same in any industry,
• 1:53:51
  in any profession. Nobody's just going to give you
• 1:53:53
  a ton of money for your original idea that don't know if you can
• 1:53:56
  deliver it. What springs to mind when you
• 1:53:58
  were listening directors there, Matt is Jordan Peele.
• 1:54:00
  You know, if you've got a really good idea like Get Out was huge,
• 1:54:04
  but it was small. It depends on how big you want
• 1:54:07
  to make something and how big you want to make something is
• 1:54:09
  dependent on a the story and the idea and if it warrants it and B
• 1:54:13
  if you can pull it off. Yeah, I think not only is there
• 1:54:17
  an audience for new ideas, I think there's a bit of a
• 1:54:19
  clamouring from audiences for new ideas.
• 1:54:21
  I think Avatar was proof of that.
• 1:54:22
  When Avatar came out in 2009, highest grossing film ever
• 1:54:25
  because it was totally new, something we hadn't seen before.
• 1:54:29
  And the 3D aspect, everyone was talking about how it looks great
• 1:54:31
  in 3D and audiences just flocked to see it and kept going to see
• 1:54:34
  it and made it the highest grossing film ever.
• 1:54:35
  But imagine nowadays. No way is George Lucas getting
• 1:54:38
  Star Wars made nowadays. Absolutely no chance.
• 1:54:41
  No, no. Do you not think?
• 1:54:43
  Studios just won't pay for original ideas.
• 1:54:45
  It's going to be a sequel or a comic book adaptation or
• 1:54:48
  something like that. So it's like Christopher Nolan,
• 1:54:50
  just no one's getting the made, and he's only getting the made
• 1:54:52
  because he did a comic book, first of all, comic book.
• 1:54:55
  Yeah. Inception's biggest influence,
• 1:54:57
  though, might be this. That foghorn effect cropped up
• 1:55:05
  everywhere for a few years. Transformers, Independence Day,
• 1:55:08
  Resurgence, Prometheus, Pacific, Raymond Lord, Lord Moore
• 1:55:11
  blockbusters all have foghorn base scores.
• 1:55:14
  Is that a good thing, do you think?
• 1:55:16
  No. It's not the official title of
• 1:55:18
  Foghorn based score. Oh.
• 1:55:22
  Well. That's great enough.
• 1:55:25
  We live next to the coast. I can hear the foghorn now and
• 1:55:28
  again and I'm just thinking, Jesus Christ, am I going to wake
• 1:55:30
  up? It's too soon.
• 1:55:33
  Yeah, it's overused and it's turned into a gimmick and I
• 1:55:36
  think Chris Nolan's used it because it's a slowed down
• 1:55:38
  version of the Edith PF song and it serves the story.
• 1:55:41
  If you put it in Transformers, it doesn't make any sense and it
• 1:55:43
  just makes it might obey even more.
• 1:55:45
  So. It's got its time, it's got its
• 1:55:48
  place, but I feel like it's been lifted and whenever you hear it
• 1:55:50
  somewhere else, I mean even the new Rambo had it in certain
• 1:55:53
  bits. It's just like, what the fuck?
• 1:55:55
  What they've done is just taken that one element and try to use
• 1:55:57
  that to elevate their shit, which doesn't work.
• 1:56:03
  Well, Hans Zama himself said about people copying that score.
• 1:56:06
  Oh, it's horrible that music became the blueprint for all
• 1:56:10
  action movies. If you get too many imitations,
• 1:56:13
  even I get confused. Yeah.
• 1:56:15
  Yeah, he's dead on. No sequels to Inception, of
• 1:56:18
  course, though Northern crumbs in enough ideas, rules, and plot
• 1:56:21
  points to fill a cinematic universe.
• 1:56:24
  I doubt we'll ever get a sequel, but that does lead us into a
• 1:56:26
  question from one of our page runs on Patreon.
• 1:56:29
  Just Joe. Hello, Joe.
• 1:56:31
  Hello. Joe.
• 1:56:33
  So, Joe asks, what sort of film would you like to see
• 1:56:36
  Christopher Nolan make next? So it would obviously have to be
• 1:56:41
  something that plays to his strengths, and I think his
• 1:56:43
  strengths are his ability to ground a film in a concept.
• 1:56:46
  But I would want him to do something I hasn't done before.
• 1:56:49
  So making like a spy fellow or a Bond film doesn't appeal to me
• 1:56:52
  whatsoever. I think what would be really
• 1:56:54
  interesting if he could do would be to do something like Zodiac
• 1:56:58
  or JFK, something based in the real world, real life event.
• 1:57:03
  A spot like what he did a bit with Dunkirk where he said, you
• 1:57:06
  know, I'm going to make a war film, but I'm going to make a
• 1:57:08
  war film like you've never seen before because of the way I'm
• 1:57:10
  going to do it. So I would like him to take
• 1:57:13
  something more specific than that though, and then see how he
• 1:57:16
  would do it in his usual style. I think that could be really,
• 1:57:19
  really interesting. Great, for me Norman's thing is
• 1:57:23
  high concept, smart, innovative science fiction.
• 1:57:26
  That's what I think he does best and that's all I really want
• 1:57:28
  from him to be honest. Because there's nobody else
• 1:57:30
  doing it. He's done his superhero movies,
• 1:57:32
  he's done dreams, he's done time travel now with tennis.
• 1:57:35
  But there's plenty of science fiction sub genres left.
• 1:57:38
  Post apocalypse, artificial intelligence, Dystropian future,
• 1:57:41
  they would all be great. I would love to see Norman's
• 1:57:44
  take on an alien invasion movie. I can't imagine him ever doing
• 1:57:48
  one, but Northern taking that old classic idea and spinning
• 1:57:52
  into something new as he does, I would definitely go for that.
• 1:57:55
  Yeah, you. Just want to see him do Star
• 1:57:57
  Trek, that's all. I've got 2 answers really.
• 1:58:02
  One of them is really pretentious.
• 1:58:04
  Obviously kind of what I'd like. To share, I'd like to see him do
• 1:58:14
  a western. No.
• 1:58:16
  Like a really big, epic sweeping IMAX Weston that's just got like
• 1:58:22
  really complex themes in it. I'd like to see him explore his
• 1:58:26
  emotional stabs a little bit more.
• 1:58:28
  I'd like to see characterization a little bit more.
• 1:58:30
  I'd like to see advance in dialogue.
• 1:58:33
  And I think this genre is almost dead and buried.
• 1:58:37
  I'd like to see him bring something back.
• 1:58:38
  And I think he could make a western in the style of like
• 1:58:41
  Kubrick would have made a Western.
• 1:58:42
  I think it's one of my favorite genres.
• 1:58:45
  It what if John Ford had an IMAX camera?
• 1:58:47
  It would be it'd be something else.
• 1:58:49
  And I think Scorsese's moving there.
• 1:58:51
  And I think, you know, Killers of the Flower Moon's going to be
• 1:58:53
  one of them films that might just kick up this genre again.
• 1:58:56
  And I think Nolan's take on something like that would be
• 1:58:58
  really, really interesting. I'd love to see him like sell a
• 1:59:00
  tape an IMAX camera to a horse. It'd look superb.
• 1:59:04
  You just have that type of grand.
• 1:59:06
  That would be amazing. But the other answer is, I don't
• 1:59:12
  want to predict what Chris Nolan can do because I don't
• 1:59:15
  understand what he can do. And I really, really wanted to
• 1:59:17
  do a Chris Nolan film. And that's my pretentious answer
• 1:59:20
  because Chris Nolan films are experiences.
• 1:59:23
  It is a Chris Nolan film and it always will be.
• 1:59:25
  And I think I'd just like to see as many Chris Nolan films as I
• 1:59:28
  possibly can without them running out of really strong
• 1:59:31
  ideas. I think combine my answer and
• 1:59:33
  your answer there, we assume we could have Cowboys and aliens
• 1:59:36
  too. Oh just remake that because it
• 1:59:40
  was shit. Since Inception was released,
• 1:59:45
  nothing like it has came out of Hollywood in terms of combining
• 1:59:47
  originality and scale. And unfortunately with the way
• 1:59:50
  the studio system is at the minute, that looks like it's not
• 1:59:53
  going to change anytime soon. So Chris, if you're listening,
• 1:59:57
  it's all on you. Yeah, sorry mate.
• 2:00:04
  All right, when you do the ranking.
• 2:00:07
  You've made it to the end of this podcast within a podcast.
• 2:00:10
  We know everybody's in limbo waiting to find out where
• 2:00:13
  Inception will sit in the All the Right Movies leaderboard.
• 2:00:16
  So Matt, do you want to start us off?
• 2:00:18
  What are your rating Inception? So this film I find endlessly
• 2:00:24
  fascinating. It's bold, it's ambition is sky
• 2:00:28
  high, and it's completely suited to the talents that Nolan has as
• 2:00:34
  a film maker. And it's infiltrated popular
• 2:00:37
  culture to the extent that before came out, some people
• 2:00:40
  were genuinely convinced that Tenet was like a stealth sequel
• 2:00:44
  to Inception that he made on the sly.
• 2:00:47
  That's how much Inception has got under people's skins.
• 2:00:50
  There are sequences within this film that are absolutely
• 2:00:54
  staggering, both on a visual sense and on a narrative sense
• 2:00:58
  and a thematic sense. And the ability he has to pull
• 2:01:02
  it all together is incredible. Loads of good performances in
• 2:01:06
  there, but I do still have issues with some of the writing.
• 2:01:10
  I've got to deduct a point for that so it gets a night.
• 2:01:14
  Shut up, man, Matt. I don't think Inception is
• 2:01:24
  Nolan's best film. I think that's The Prestige.
• 2:01:27
  But Inception is my favorite Nolan film.
• 2:01:30
  Not just that, it's probably my favorite film of the 21st
• 2:01:32
  century. Amazing.
• 2:01:34
  I agree entirely with that Markham Ward quote I read out
• 2:01:36
  earlier. Blockbusters can be artistic and
• 2:01:39
  Nolan proves that and is out there on his own doing it.
• 2:01:42
  I think he's fantastic. I love the concepts here and the
• 2:01:45
  amount of ideas Nolan introduces is just outrageous.
• 2:01:49
  I love the narrative and the personal drama, The heart of
• 2:01:51
  everything. The cast are all brilliant.
• 2:01:53
  Hans Zim and Wally Fister's work is among their best.
• 2:01:56
  I think. It's not perfect and as I
• 2:01:58
  mentioned, some of the writing and plotting gets a little bit
• 2:02:01
  convoluted sometimes and for that reason I would say it's a
• 2:02:05
  9.5. But that ending, that final shot
• 2:02:11
  is magnificent and that makes up for it.
• 2:02:13
  So it's a 10 for me. Westy nearly walking off there.
• 2:02:20
  I saw Westy's face there, so I bet she's your mind.
• 2:02:22
  Yeah. And Rusty. 7 out of 10, No.
• 2:02:32
  This made a real impact on me when I saw it in IMAX and I saw
• 2:02:35
  it in the morning and then I go and see it again in the
• 2:02:38
  afternoon. It was just an eye opener for me
• 2:02:41
  personally. It's a really personal film.
• 2:02:43
  It's one that I find quite comforting to watch.
• 2:02:45
  I love how you kind of taking through it, it's endlessly
• 2:02:48
  entertaining. Like you said, the characters in
• 2:02:50
  it are all relatable, the performances in it are all
• 2:02:52
  outstanding, the directions just so confident.
• 2:02:55
  It just begs to be appreciated. I guess.
• 2:02:58
  I think this is just why I love cinema.
• 2:02:59
  It's just filmmaking. It doesn't disappoint on any
• 2:03:02
  level. There's not one department
• 2:03:03
  working on this film. Who brought the B game?
• 2:03:06
  Everything is top notch. Every single thing is just the
• 2:03:09
  best it can possibly be. At the time that it was made, it
• 2:03:12
  was a real inspiration for me to try and do this stuff, to pick
• 2:03:17
  up a camera and try and make things and edit them together
• 2:03:19
  and make people feel something, you know?
• 2:03:22
  So that was 10 years ago and I've tried to do whatever since.
• 2:03:24
  That was one of the first films that I saw that just made us
• 2:03:26
  want to try and do something. It inspired us enough to be
• 2:03:31
  creative and to push that and to know that I could maybe one day
• 2:03:35
  make something that is as good as this is.
• 2:03:38
  So in my eyes, all day it's a 10.
• 2:03:40
  Fantastic. As always, we asked our Twitter
• 2:03:43
  followers to vote some of their comments.
• 2:03:46
  Ralph Dalliwell at Rothstead said for movie fans, Inception
• 2:03:50
  is like a dream within a dream within a dream come true.
• 2:03:55
  It's that classic Nolan phenomenon of being truly
• 2:03:57
  rewarding on a second watch. 9 Rob Crue S Our Rob Crue S said
• 2:04:02
  while I was troubled with the concept, if I was someone ended
• 2:04:04
  the dream, I assume it's an IV. Once you get past that, the rest
• 2:04:08
  was just pure genius. An absolutely original
• 2:04:11
  storyline, fantastic acting, Zimmer score, fist of
• 2:04:13
  cinematography. It was a marvel to watch a solid
• 2:04:16
  9.5. Robberies is quite an
• 2:04:19
  interesting point. They actually.
• 2:04:20
  Nolan never actually tells us how they get into the dreams.
• 2:04:23
  No, Does that bother you? Nope.
• 2:04:25
  Nope, I'm the slightest. It's definitely is, because
• 2:04:28
  Seidel, when he's on the tree and checks his wrist and he sees
• 2:04:30
  it, he's got the puncture marks. It's a dream machine, isn't it?
• 2:04:32
  Dream machine, Yeah. King Woody at King Woody 45
• 2:04:36
  said. Stunning set pieces, incredible
• 2:04:39
  special effects, and the great cast all held together with a
• 2:04:43
  plot that is just plain silly poor face nonsense.
• 2:04:46
  Wow. Six Woo starred.
• 2:04:48
  Well, that one. How does in the first half
• 2:04:51
  there? A review with any review.
• 2:04:54
  I mean for people that don't like Inception, words like poor
• 2:04:56
  face to pretentious do seem to crop up.
• 2:04:59
  I think probably because it takes itself so seriously.
• 2:05:01
  Pi doesn't like it either and he said it has over the top visuals
• 2:05:05
  and plot. A dream inside of a dream inside
• 2:05:07
  of another dream. Clearly there's too much cheese
• 2:05:10
  being consumed before bed. This.
• 2:05:13
  Is pissed off Hackman's not in it.
• 2:05:15
  And our Twitter followers ranked the film as 8.5 out of 10.
• 2:05:19
  That's low. Which gives Inception a total
• 2:05:22
  score of 37.5 out of 40. You can check our site to see
• 2:05:26
  where it is in the leaderboard. So that's everything on
• 2:05:29
  Inception. Hopefully we've not turned
• 2:05:31
  everyone's brains to scrambled egg next time.
• 2:05:34
  It's another 21st century classic.
• 2:05:36
  Matt, Luke and Pi are going all in on the Coen Brothers Oscar
• 2:05:39
  busting No Country for Old Men. Yeah, looking forward to.
• 2:05:43
  That yeah. Nice.
• 2:05:43
  To get you all the right movies filled between now and then, you
• 2:05:46
  can visit our Patreon page for bonus podcast episodes and to
• 2:05:49
  access our archive. That's our patreon.com/all the
• 2:05:52
  Right Movies. Speaking of Patreon, a special
• 2:05:56
  mention for our directors chair level patrons who are Adam
• 2:05:59
  Cowie, Adam Yates, Andrea Barka, Syed, Anna Randall, Damian
• 2:06:03
  Lennox, Gary W, George Anderson, Graham Cheater, Jamie Russell,
• 2:06:06
  Just Joe, Kenny Morrison, Matt Low, Mike Riley, Robbie D, and
• 2:06:11
  Robert Shearer. Thanks everybody.
• 2:06:13
  Thanks guys. Yeah, lovely guys.
• 2:06:14
  Thank you. On social media, you can keep up
• 2:06:17
  with all the right movies. On Twitter, we are at right
• 2:06:19
  under score movies. On Instagram we're at all the
• 2:06:22
  under score right movies and our website is all the mymovies.com.
• 2:06:27
  We're all off now to take a leap of faith or become old men and
• 2:06:31
  filled with regret, waiting to die alone.
• 2:06:34
  Well, not decided yet. I think I know which way it's
• 2:06:36
  going, to be honest. So thanks everybody, sleep well
• 2:06:42
  and bye for now. Yeah, sweet dreams.
• 2:06:44
  I'm off to watch Inception again.