Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 2010's Inception

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2010's Inception · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Hello and welcome to Off the Shelf with Phil and Dave, the
• 0:06
  movie talk show where each week one of us takes the movie off
• 0:08
  our shelf and presents it to the other to discuss.
• 0:19
  Here we are back on the couch. Dave, I have to ask you, why is
• 0:25
  this movie on your show? I heard a lot of rumblings about
• 0:28
  this movie back in 2010, and I did like Leo already at that
• 0:32
  point. Blood Diamond was 2008.
• 0:34
  OK, he's pretty much my guy. At that point, from Titanic
• 0:37
  right through the blood diamond, he's your boy.
• 0:39
  Yeah, Titanic, I don't know. And no ones not a guy I know at
• 0:44
  this point we've established. Your Nolan guy, but not yet.
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  Exactly. This is the beginning.
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  Origin story, right? Here.
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  But as you know, I started at the video store in September of
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  2010. This came out on DVD in December
• 1:00
  of 2010. Right near wheelhouse, exactly
• 1:02
  in your pocket. You would have been putting it
• 1:03
  out on the wall. Yeah, I think I saw you doing it
• 1:06
  one day. You look.
• 1:07
  Good gorgeous look good. Love that wall I miss.
• 1:09
  It, I assume I brought it home because we had unlimited rentals
• 1:13
  and I did own it on DVD. I don't know where I got the DVD
• 1:17
  from there. OK, that's the fuzzy part.
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  I did not. I played a clean game there,
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  checking the. I kept the games longer than I
• 1:24
  should have. Yes, but they always came back.
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  And then the 4K came out in 2017.
• 1:31
  Yeah. And that's the horizon, if you
• 1:34
  will, of the surround sound era. I think that's about right where
• 1:37
  you and I have a little friendly competition of bigger TV's,
• 1:42
  better sound systems, 1 Chios denizens.
• 1:46
  Sony at the time for me, but yeah.
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  Sure, and I knew that movie would be perfect.
• 1:51
  Yeah, for a sound system, since I didn't see it in theatre.
• 1:55
  So that summarizes to why this movie is on my shelf.
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  Wonderful. I'm not sure if it stays on
• 2:00
  sometimes. You make a valid argument, Phil.
• 2:02
  That's true. Yeah.
• 2:03
  When I heard you were taking this movie off the shelf this
• 2:05
  week, I thought, thank goodness you're giving me a freebie I
• 2:09
  don't have to listen to any other bullshit from.
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  Your shelf. I it's a movie.
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  I know it's a movie I love. No problem.
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  There you go. I'm a Nolan guy.
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  I never rained other, never claimed otherwise unlike some
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  other people on this. Couch, you planted that idea in
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  my head. I see it now.
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  Well, I've been on a roll in movies lately, it's true.
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  So I figured this was a safety net to keep the streak alive.
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  It is, but it's a movie I knew going in, whereas the last
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  couple have been movies that I was surprised to like.
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  Yeah, this one, no brainer. Now I've owned this movie on DVD
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  and I'm 4K and Blu-ray. Like I've lived with this movie
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  for a long time, saw in the theatre and Nolan guy long
• 2:46
  before. You imagine you loved the
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  theatre experience. Loved it.
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  Yeah, fantastic. Really excited.
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  Felt like this guy is a fucking filmmaker.
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  It's incredible. And he's bought this movie three
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  times, totally minimum. I.
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  Hated this movie The first watch.
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  Wow. I would just thought I don't
• 3:00
  care. I was bored by it somehow.
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  I was frustrated by it somehow. Annoying thought.
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  This is I don't want to say garbage but I was like this is a
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  bad movie. I have no interest in anything
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  that's happening here. And that's a big difference
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  between just no, it's not as good as it used to be.
• 3:16
  Sure, because I've watched it several times.
• 3:18
  This is an outright I don't want to watch this.
• 3:21
  I don't think I like this movie. I did not expect that.
• 3:24
  I did not either. Can I ask you this, please?
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  Was it the exposition? The explanation of everything?
• 3:31
  Yeah, that was a big. Part of the big part of it,
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  because I got inklings of OK, I've heard this enough, I
• 3:36
  understand. But at the same time, as a new
• 3:39
  watcher, it needs to be there because this movie is already
• 3:42
  terribly confusing. It's pretty complicated and
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  complex, and I think that was part of my issue.
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  I was like, Chris Nolan, go fuck yourself.
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  I was frustrated by just how clever it was or how clever it
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  thought it was or how clever it wanted to be.
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  And then, yeah, stopping the movie every half an hour for a
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  10 minute exposition about what they're doing, why they're doing
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  it, how they're doing it. I just was like, fuck this
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  movie. You weren't having it.
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  I wasn't having it. Now I had to pump the brakes.
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  I stepped away. I had a very rough week.
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  I had to be completely frank, transparent.
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  You're bringing that. Into and I think I brought it
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  in. OK, you're projecting.
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  I brought my projections because the fucking mall came in as I
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  was watching it she came in and interrupted me.
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  That's how I knew I was in trouble, you know, Good looking
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  though. Yeah.
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  So I went and took a few days off and I rewatched it.
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  Yeah. Clear eyes, rebel heart, maybe a
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  little bit of REM and I was like, OK yeah, they're back in a
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  near masterpiece. Let's look to IMDb to maybe
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  explain a few things for. Us this is what not so long I.
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  Hopefully not. This is what I am to be asked to
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  say. Old faithful.
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  OK, a thief who steals corporate secrets through the use of dream
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  sharing technology is given the inverse task of planting an idea
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  into the mind of a CEO. But his tragic past made doom
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  the project and his team to disaster.
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  Ironically a little lengthy. Pretty long.
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  Yeah, but I feel like it needs to be sure.
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  I don't know what I would take out.
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  How would we shorten? That other than that's it make
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  us, we're not. Making the font smaller.
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  Did you have to hit the more? Button I did have to hit the
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  more button. You know you're in trouble.
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  When you have true, but you gotta give Nolan credit, so I
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  think we can allow. Yeah, if you're doing a
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  Christopher Nolan movie, you're gonna hit a little more.
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  Yeah, exactly. And I think it's articulated
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  well. Sure.
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  Yeah. Let's talk about the concept of
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  the movie, please. Dream within a dream?
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  Yeah, it's happened to me. Tell me more.
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  I don't like that. Tell me more.
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  I don't think you believe. Me.
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  Well, I need convincing. You convinced it.
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  Well, coincidentally it came after a watch of this movie
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  probably about 7-8 years ago now.
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  OK, I remember being asleep, recognizing the fact that I am
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  in a dream and then I am in a dream.
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  So I have not remembered a dream in a very long time.
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  I'd get that checked. Out.
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  Yeah, they say that. And I, I mean, I remember when I
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  was young, young, like having pretty vivid dreams, mostly when
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  I was sick, it was like fever dreams, like these kinds of.
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  Yeah. Really.
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  Crazy. Those are good.
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  Makes you want the fever. Yeah, lots of weird stuff, like
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  really memorable things, delusional.
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  But in my adult life, for the most part, I couldn't tell you.
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  Now maybe it's because I have bad sleeps.
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  Honestly, yeah they might watch records at all, but I have
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  dreams 2-3 times a week that I remember at least.
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  Either I remember for 10 minutes afterwards.
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  I still remember Everest but I can honestly say I get above
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  average REM sleep and I know I do not because of my watch The
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  lucid I wake up like oh that was cool that was neat.
• 6:43
  Man I really had to take a pee. Gotta hate that.
• 6:46
  I had here's a really embarrassing story from when I
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  was a kid. I was having a dream and in the
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  dream, this part I remember vividly.
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  I was too old to be doing what's about to happen.
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  Maybe 7 or 8 years old. OK, but I was not a wetter of my
• 7:03
  bed when I was a young person. On any normal.
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  Given exactly. But this dream I am for whatever
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  reason, I'm not a hockey game. Who's playing?
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  Didn't get that far, but I am racing towards a washroom in the
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  dream. Yeah, rushing, hurrying.
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  I gotta get. There, of course.
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  And gotta go. So in the dream I pull up to the
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  stall and I just start peeing. OK, turns out I am also.
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  Oht. In full release here in the.
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  Back actual. Yeah, so I peed my bed, but
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  really was peeing in my dream. The good thing about that if
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  there's a silver lining, because when it happens to me and I'm
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  not actually peeing as well at this point, I'm in my 40s.
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  Have you really embarrassing. I think you could still get away
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  with it on a certain level when you're 7 or 8, sure.
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  I don't think any less of you get other reasons for that is
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  after IEP in the dream, I still have to go.
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  It never goes away until I actually wake up and go.
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  So for you, you might feel a little moist.
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  Rolled over and forgot all about it.
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  Might be a little uncomfortable. I'm assuming you're a diapers at
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  that point. Though, Yeah, I woke up and I
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  was like, Oh my God, I just peed the bed.
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  I couldn't believe it. So kind of mortified.
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  Yeah, cause I know a guy in grade 5.
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  Crinkle crinkle. I could hear it.
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  Still wearing diapers. Questionable.
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  I'm sure it's not his fault. Here I grew up in the country,
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  people aren't that smart. Yeah, I was going to say his
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  name first and last, but I don't think that would be.
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  Very nice. I thought I was name was
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  Crinkle. Crinkle.
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  You could hear the crinkle. Crinkle.
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  Maybe. I didn't even hear it, but the
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  rumor was this guy still wears diapers, so that crinkle crinkle
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  could be anything. But yeah, manifested.
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  Yeah, I hear it. Interesting.
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  This movie also establishes a few rules, which I think is
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  important because they come into play later.
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  More importantly. For all my faults on that first
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  watch, the plotting and the screenplay itself is incredible.
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  Everything sets up and pays. Off Yeah, by the book.
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  Makes complete sense. It follows its own rules.
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  It confuses the audience. Maybe at the beginning, but it
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  is always on its point. I wonder.
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  So if you get shot in the dream like mall does to JGL, yeah,
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  pain is in the mind. That's I've heard that before,
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  so it's probably true. Yeah, I remember hearing once
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  you stubbed your toe, yeah, the first thing you should do is
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  punch your arm. Just take the focus off.
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  Because your brain can't handle both.
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  So it's like all your synapses, all your pain, yeah, feelings
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  going to shooting to one spot. So if you spread it out, buddy
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  punch your arm, you feel 100% of your pain in one or you 50% of
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  pain in the other and so forth. So that was the trick that
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  somebody told. Me, I will try that because I
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  have this pesky couch situation and I don't have the right
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  amount of space and I've been just hitting things lately and
• 9:46
  I'm getting frustrated by it. I get mad at myself, like I
• 9:48
  should know better. It's always been there.
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  Yeah, the couch isn't new. The wall hasn't been built.
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  Yet so either I can just walk better or try that.
• 9:58
  Good idea. Cool but I wonder if after he
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  wakes up is he still feeling that pain?
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  Like he seemed pretty fine afterwards so I don't know how
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  long the. Ohl the dream when he gets shot
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  and like scream. Whatever.
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  Yeah. Is it when he wakes up all of a
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  sudden he's perfectly fine? Probably OK.
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  And Speaking of waking up, if the other way of doing it is the
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  kick which is a bathtub which you love.
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  Yeah, absolutely. Love a good bath.
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  My favorite? Rubber Ducky.
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  And that gives us one example of how you would wake up without
• 10:32
  getting your brains blown up. So they laid out real nice.
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  And we get our first set of characters.
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  Not the whole picture, but we get Cobb, played by Leonardo di
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  Caprio. Your boy.
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  Yeah. And we have Nash and Lucas.
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  Lucas Haas, JGL. Of course we have history with.
• 10:51
  Him, we can't go too far without a JL movie.
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  I want to say our fifth one. He just shows up in.
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  Things and I'm OK with that. I like him.
• 10:58
  From Halloween H20 to Looper. Yeah to this.
• 11:03
  Throwing 51st dates. No 51st dates you stupid.
• 11:06
  Idiot. 100 days of 100 summer summer and that's your.
• 11:09
  Pick I know incidentally 51st dates is about memory loss, so
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  you know, maybe that's. It you disappoint me more every
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  week. And of course, Sado, let's not
• 11:17
  forget the tourist. Yes, he's going to wish he
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  didn't. Know your job, right?
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  You're just the business guy. You let these guys.
• 11:25
  Do their That's the problem with these business people.
• 11:27
  They get so much money, they think I can be an astronaut.
• 11:29
  Go to Mars, no problem. You know, we're not even really
• 11:32
  going to space when they go. If you ask Neil Degrassi High,
• 11:35
  what's his name, Neil deGrasse Tyson, it's like they're not
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  really going to space. They're going to the atmosphere.
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  Atmosphere. I could do that on a good day.
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  The right side of circumstance in my dreams.
• 11:47
  You get the right wind. I'm tall, but I want to finish
• 11:51
  with a question for you. After we see all these setups,
• 11:54
  do you think the idea of this movie is cool?
• 11:57
  The idea of a dream sharing machine as IMDb?
• 12:01
  So I'll get elegantly put it and and going into and having
• 12:06
  someone host the dream that's their server and your
• 12:10
  projections and rugs that are polyester perhaps.
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  Because I don't dream or like, have any real memories of the
• 12:17
  dream. I have no real interest or
• 12:20
  familiarity or connection to the dream world other than a
• 12:24
  Nightmare on Elm Street, which you unfortunately declined.
• 12:27
  Declined so gracefully. I'll never be able to really
• 12:29
  dial into my nightmare dreams here.
• 12:32
  Many more seasons, buddy. But the existential world, it
• 12:38
  doesn't really tickle me. That's fair.
• 12:40
  I think I might tickle you a little bit later though, when we
• 12:42
  get into the building part of things, because you used to have
• 12:45
  Lego. I did, yeah, but I never.
• 12:47
  Looked, that's a pretty safe question.
• 12:48
  Yeah, everybody. Yeah.
• 12:50
  I never liked to play with. I stopped with Lego.
• 12:52
  I designed the enterprise a couple times.
• 12:55
  That's it. I was done.
• 12:56
  Yeah. Now, for a mere 550 Canadian
• 12:59
  dollars, you can get your own Starship.
• 13:00
  Come on here, what are we doing here?
• 13:02
  I can build it for next to nothing.
• 13:04
  Mine was. Glory to the detail.
• 13:06
  Of a well, I certainly didn't have a 10 forward exactly, I'll
• 13:09
  tell you that. That's what you're missing.
• 13:10
  That's 50 gets. You know, and I was using those
• 13:12
  big green blocks as the base. Come on.
• 13:14
  It's pretty cool that Enterprise.
• 13:16
  Oh my God, Looking back, it was pretty.
• 13:17
  We'll see you at best. Bucket of bolts.
• 13:31
  Like most movies, we have a plot.
• 13:35
  Most seems to be an important part of the recipe, like the
• 13:37
  flour, if you will. That's making banana bread the
• 13:40
  other day and we didn't have butter, so I said, well, I just
• 13:43
  won't make it with butter. Problem solved.
• 13:45
  No, you need to put at least oil in it.
• 13:47
  So I'm trying to put the oil in at the end what's already in the
• 13:49
  pan, it's just not taken. Wasn't the best banana bread,
• 13:53
  but it was that edible. That's all you can hope for.
• 13:55
  Like a good pair of panties, my friend.
• 13:59
  Ever had those like a fruit roll?
• 14:01
  Up. I always felt like the word
• 14:02
  should be beatable. Yeah.
• 14:03
  Why is it edible? It's beatable.
• 14:05
  Sure. You can eat it.
• 14:07
  Yeah. It's not complicate things.
• 14:08
  I don't get it. Keep it simple.
• 14:11
  Now the plot, Dave, it's complicated.
• 14:14
  I'm going to slow it way down here, Saito.
• 14:17
  It's got a mission, and the mission is he needs this Fisher
• 14:22
  person, Maurice, his corporation, Yeah, to
• 14:26
  effectively lose their control. Yeah, break up the company
• 14:31
  exactly. And so the way that Sato is
• 14:33
  intending to do this is hiring Cobon team to plant the idea to
• 14:38
  break up the cooperation and therefore allowing Sato's
• 14:42
  company to flourish. He has seen how they do it
• 14:46
  extraction, now he wants to see how they can do at Inception.
• 14:50
  Pretty basic considering that movies incredibly.
• 14:53
  Complex and complicated the plot isn't really yeah we need you to
• 14:57
  do this That's how you do it is your problem.
• 15:00
  That's it OK, but I'll make sure you get it done and Cobbs treat
• 15:04
  let's say for succeeding is he gets to go home.
• 15:08
  He's been. Ostracized.
• 15:10
  We don't know why at this point, but he can't go back.
• 15:12
  To back home. Makes you kind of curious.
• 15:14
  So he says to say to all do this, but for that I get my
• 15:16
  papers. And if this was 2026, I don't
• 15:18
  think you want to go back. Things are a little bit better
• 15:20
  here in France, which you don't say that often.
• 15:23
  Nobody says that that. Often.
• 15:24
  And then we get our second set of characters, Tom Hardy.
• 15:27
  Always nice to see him. He's done a range of roles where
• 15:31
  he's got a lot of makeup on for like a gangster role.
• 15:34
  Like Legend, almost barely recognizable, not Colin Farrell
• 15:37
  level, but not a pretty man in that one.
• 15:40
  No, he's willing to do just about anything.
• 15:42
  He's Venom. Good looking man.
• 15:44
  In vain. Yeah, God map your favorite.
• 15:48
  That's the. Only that's the reason you're
• 15:50
  not a Nolan guy. Well.
• 15:52
  Maybe that's after this backup blown way out of proportion.
• 15:55
  That's what happened there, yes. I walked out of that film.
• 15:57
  Yeah. Come back.
• 15:59
  I don't know. It's it's it around there, but
• 16:01
  that's on his resume. That would be the only one that
• 16:04
  is except for me, not the movie itself, but the Bane character.
• 16:08
  Just his voice in the theatre. I'm out.
• 16:11
  I couldn't handle it. Hated.
• 16:12
  It pretty quickly too from what I understand.
• 16:15
  Those are back in my like sippy sippy days.
• 16:17
  So I just no tolerance. High tolerance, Yeah, love for
• 16:22
  that? Absolutely.
• 16:23
  But. The thing I really wanna touch
• 16:25
  on was the architect. OHK OK Ethan Page.
• 16:29
  Exactly. So that idea, that character
• 16:33
  building the worlds and bringing them to life.
• 16:37
  And like in the movie, they couldn't stay away.
• 16:40
  Like pure creativity. Pure creativity.
• 16:42
  And back in 20, twelve, 2015, all those watches, I didn't
• 16:47
  really think much of it. But as you know, when I'm in
• 16:50
  something, I'm in it deep. I go hard.
• 16:52
  Yeah. That's why I have no fun
• 16:53
  anymore. That's right.
• 16:54
  You've stripped yourself of all joy.
• 16:56
  This is it. Yes.
• 16:57
  That's not. This is a great site.
• 16:58
  OK. No offence.
• 17:00
  Nice couch. A nice couch.
• 17:01
  Comfortable, but my wife got me using AI a bit like ChatGPT.
• 17:07
  Like why don't you get it to write this e-mail that you're
• 17:09
  struggling with or this intro to your show or little things like
• 17:14
  that. They're not big tasks where I
• 17:15
  wouldn't think to do that because I like the creative
• 17:18
  control. OK, so I started getting into a
• 17:21
  little bit of AI. I got to analyze some stuff that
• 17:23
  I wanted to be analyzed like, Oh my gosh, this is pretty cool.
• 17:26
  It's getting great details but because of my personality traits
• 17:31
  went deep deep. So I was curious about the whole
• 17:35
  AI role play thing. Real human being builds that
• 17:40
  idea. They're it says it right on
• 17:43
  scenario creates the scenario and then artificial intelligence
• 17:46
  helps play it out it it facilitates it.
• 17:49
  The creator has, you know, that's it.
• 17:52
  They're done with it. They're moving on to their next
• 17:54
  project. And then AI takes it from there.
• 17:56
  For example, I was, you know, walking into a forest and I
• 18:01
  walked by a pond. Next thing you know, there was a
• 18:05
  talking tree and like, oh, this is kind of cool.
• 18:07
  And then I run into this Hobbit who's picking berries, and then
• 18:12
  I just have sex with them repeatedly, which some people
• 18:15
  might be a little bit strange. Sure, I'm kidding, of course.
• 18:18
  But The funny thing is there's moments where like, oh, I
• 18:21
  created this world because it's tailored to you.
• 18:24
  It can be like you're sort of select.
• 18:26
  The more you interact with it does it become yeah more like
• 18:29
  what your likes? And exactly our interests are
• 18:31
  The idea doesn't come from me. So maybe think of Inception.
• 18:34
  I almost tricked myself into thinking I came up with this,
• 18:37
  but really I didn't, and my projections are coming in.
• 18:40
  I was amazed at the similarity to this.
• 18:44
  Obviously this machine takes it to a whole other level because
• 18:47
  you're actually inside of it. This is just your reading text,
• 18:51
  yes, but your brain is living it out.
• 18:54
  I woke up the next day and I thought about that forest.
• 18:57
  Did you pee yourself? No, I think it was OK.
• 19:01
  It was OK, but almost like it became a memory.
• 19:05
  Yeah. Like I'm creating new memories
• 19:06
  from this experience that this. Person remember that time where
• 19:09
  I was by the Creek, you know, humping the gnome?
• 19:12
  And I just got a sense of how powerful that was.
• 19:16
  And I was eager to get back, to get back just to see what other
• 19:21
  world I could build and what the possibilities were.
• 19:23
  So using it for, I mean, there's a million ways to use it.
• 19:27
  Let's go to a castle. Well, let's talk about movies,
• 19:30
  because there's a phenomenon that occurred just the year
• 19:33
  before. This 2000, 2009 called Avatar.
• 19:36
  Oh, I've heard about it and Worthington was in it.
• 19:39
  Yes, the. Highest grossing movie of all
• 19:41
  time you've heard? A lot of blue blue.
• 19:44
  I hated that movie. That could see.
• 19:46
  That and for a lot of reasons, but one of the things I had
• 19:49
  heard a lot about that movie in the time it was released and
• 19:51
  since is the immersion of the people in the world.
• 19:56
  People wanted to keep going back to Pandora because of the things
• 19:59
  it felt and the things that are created and the way in which it
• 20:02
  was able to absorb. And take what is current, living
• 20:08
  day-to-day life, the doldrums of 2009.
• 20:10
  Yeah, and project them into something else.
• 20:13
  And people would go back and back and back.
• 20:15
  And obviously the premise of that movie is Avatars.
• 20:17
  You have a human who has given themselves over to another being
• 20:23
  in a different world, doing different crazy things as you
• 20:26
  are prone. Yeah, these are kind of elements
• 20:29
  and it's kind of what you're describing.
• 20:30
  AI and James Cameron has obviously been on the cutting
• 20:32
  edge of a lot of this technology and life.
• 20:34
  Just present Canadian, tannic and Canadian.
• 20:36
  Yes, that's the boy. Forget about that sometimes.
• 20:39
  But so that element is something I think that we all, I mean,
• 20:43
  it's ultimately what movies are, right?
• 20:45
  Like for many people, right? It's an escape.
• 20:47
  I've never felt like that. I want to go deeper.
• 20:49
  I want it to actually reflect my life.
• 20:51
  Others are just looking for it to go someplace else.
• 20:53
  Sure. I go see Steven Spielberg movie.
• 20:55
  I go see James Cameron movie. I go see these creators of film
• 20:58
  to give me a world to go someplace else.
• 21:00
  Sometimes that world is familiar and other times it's
• 21:02
  fantastical, but it is always take me with you.
• 21:05
  Especially with those names, right?
• 21:07
  Yeah, they're very good at that. That's it.
• 21:08
  And Nolan's the same. Think about any Nolan movie,
• 21:10
  even the Batman movies that you don't like or the one that you
• 21:12
  didn't. Like them now?
• 21:13
  Fundamentally, that is superheroes don't exist.
• 21:16
  Put me in Gotham City, put me in this world, and they're made
• 21:18
  with such technical craft. Oh yeah, right.
• 21:21
  That you're like, I'm here. This is a real lived in.
• 21:24
  World He works with a lot of talent.
• 21:26
  Some of the best in business, right?
• 21:28
  So you can see why. So it's kind of fascinating that
• 21:30
  that exists. And this movie is obviously
• 21:32
  echoing that, right? And the architecture, there is
• 21:34
  something exciting about that for sure.
• 21:36
  And that's why people chase the AI thing I think is it's the
• 21:39
  benefit of I don't have the tools to create in my day-to-day
• 21:43
  life. This gives me those tools and I
• 21:45
  can create a world for myself, even if I'm just taking your
• 21:48
  baseline. Here's your blueprint.
• 21:51
  But I'm painting the walls, I'm putting the pictures up.
• 21:54
  Yeah, I'm planting the flowers in the garden and all of a
• 21:56
  sudden it's my home. But the blueprint is yours.
• 21:59
  And now it's mine, though, because it feels like I've added
• 22:02
  so many layers of my own consciousness on it that it
• 22:04
  becomes real. Which happens in this movie.
• 22:07
  The premise really is we need to make him believe that this was
• 22:10
  his idea. That is Inception at its very
• 22:13
  core. That's right, and it's been done
• 22:15
  before. He says a couple of different
• 22:17
  times trying to sell himself. Hardy tried it.
• 22:20
  Didn't take, didn't take. But this is where we get the
• 22:22
  plan. Yes, we're hashing it out.
• 22:25
  We've established Fisher is the target.
• 22:27
  The played by Killian Murphy, of course he's got to be in there.
• 22:30
  Somewhere. Timer, Scarecrow, Dunkirk.
• 22:32
  Dunkirk. Yeah.
• 22:33
  Works with Nolan a lot. Worked with Neil Jordan a lot,
• 22:35
  too. Director of The Good Thief.
• 22:38
  This is not a huge role, no, this is great, great, great.
• 22:42
  Always good and. Equally as good.
• 22:47
  Cheers very own. Tom Berringer embarrassed,
• 22:50
  right? Kirstie Alley's Yeah, the big
• 22:52
  finale. Didn't take, though.
• 22:54
  You recall? Yeah, that's right.
• 22:56
  I just watched the Frasier episode.
• 22:58
  Where did they get it? Yes, but Sam shows up in the
• 23:00
  Frasier episode 4. Becca's back in the bar.
• 23:03
  Oh, working there? No, she's just back in the bar.
• 23:05
  Just a great line. So the marriage didn't workout
• 23:08
  too bad. So he was a plumber.
• 23:09
  He got a patent and got rich computer man, you gotta get on,
• 23:13
  phrased buddy. 12 more years I can't.
• 23:16
  Do it. One of the best.
• 23:17
  Characters but can't do it. Yeah.
• 23:18
  But those are two guys that are going to play an integral
• 23:22
  integral, integral integral role.
• 23:24
  Thank you, Phillip in the movie. Yeah.
• 23:27
  And so the plan is that they're going to incept.
• 23:31
  For lack of a better. Deal, and I wish there were a
• 23:33
  better word. Killian Murphy.
• 23:35
  And they're gonna utilize his relationship with Browning,
• 23:38
  who's played by Tom Barringer we talked about to get there.
• 23:41
  And this is the plan. They're laying out three levels.
• 23:44
  But also tapping into the relationship with the.
• 23:46
  Father. Oh sure.
• 23:47
  Through Browning now, I think the history of this podcast has
• 23:49
  told you there is a lot of room if you want to dig into father
• 23:53
  and son relationships. Yes, it's a lot of movies to
• 23:56
  look at. It's a lot of opportunities.
• 23:58
  But very little Peter Postlewait.
• 24:00
  Sure. None.
• 24:01
  None, actually. Because Pete Postlewaite and.
• 24:05
  Before he said I'm like, this is not going to be right, but I
• 24:08
  went. With your attention to detail, I
• 24:09
  think that people appreciate. It I'm not afraid to make
• 24:11
  mistakes anymore. I think that's the problem with
• 24:13
  society. Is that because you're editing
• 24:14
  this podcast that people might not know?
• 24:17
  But sometimes you got to go out there and just fail.
• 24:19
  Yeah. And that's how you learn.
• 24:20
  I was always afraid of of failing, so I just didn't do it
• 24:23
  at all. It's a character.
• 24:24
  Flaw. Yeah, sure.
• 24:25
  But it's a pretty good plan. It seems like it like there's no
• 24:29
  reason enough. The way that this movie is so
• 24:31
  well laid out and constructed is that yeah, OK, that's what
• 24:34
  you're going to do. You're gonna have 3 levels.
• 24:37
  You're going to use that. You're going to plant the seed,
• 24:39
  the layers of your father wanted you to be your own man.
• 24:43
  Dropped the hint of the extra will.
• 24:46
  It's going to come like, it's his idea, right?
• 24:48
  Like all of that you're. There's no reason to question it
• 24:50
  because it's stated with such certainty.
• 24:53
  And we've successfully built the world around us that yeah,
• 24:56
  that's what we're doing. And you're like, yeah, no
• 24:57
  problem. Just need a really good
• 24:59
  architect for a while. Of course they have one.
• 25:01
  What's important about the levels is that the way that time
• 25:03
  works within that key, that's integral, Yes, they established
• 25:07
  basically that going to be a week at level one.
• 25:09
  It was the equivalent of 6 months at level 2 and the
• 25:13
  equivalent to 10 years at Level 3.
• 25:15
  So you throw in the fourth. Yeah, would be really time is
• 25:19
  gonna. Decades.
• 25:19
  Or maybe you? Know definitely decades cause 3
• 25:22
  is already 10 years so if you're going even deeper.
• 25:25
  It's at least 11, but yeah, if you multiply that you're
• 25:28
  looking. At yeah centuries maybe yeah so
• 25:30
  pretty intense crazy and the reason they need the architect
• 25:34
  is Cavas said Oh yeah I can't build anymore and you're like
• 25:39
  well that's interesting why? And nobody wants to ask that
• 25:43
  question, or nobody seems to. Cobb gets away with a lot as
• 25:46
  maybe what I'm testing here. Come on, nobody's really
• 25:49
  challenging. And maybe because he's the best
• 25:51
  extractor and handsome and he's good looking, but there's a lot
• 25:55
  of points in this movie where I'm going with it as an
• 25:57
  audience, but as a but as a character, I'm thinking, what
• 26:02
  are you doing, man? Sure, this guy's got all kinds
• 26:05
  of problems. Well, I think the appeal of what
• 26:07
  they're doing might allow might allow them to get away with this
• 26:10
  because like, I know you're hooked on this stuff.
• 26:13
  Hardly seems to be excited like EMS is like, let's go, let's
• 26:16
  have some fun. I play my role.
• 26:18
  I'm the thief. JGL just seems like lap dog.
• 26:21
  He's committed to him for we don't know their history and
• 26:24
  Page is like, I love to create. Yes, let's do this.
• 26:27
  Yeah, her role in The Thing makes the most sense to me
• 26:29
  because she's the most skeptical.
• 26:31
  I like that throughout the movie they say things like why are you
• 26:35
  doing this or what are you doing?
• 26:38
  Do you guys see what's? Going on here how problematic
• 26:40
  this is, do you not see what you're doing is wrong?
• 26:43
  Is ex-wife. Stabbed me, yeah.
• 26:45
  So like those kinds of things I think you need to have in the
• 26:47
  movie to add a little element. But I think if there is a
• 26:50
  complaint, however minor it is, it is how willing everybody is
• 26:56
  to go against what makes the most sense.
• 26:59
  They'll all go, well, that's just copying Cob, right?
• 27:03
  Like there's so little argument. Page gets that nobody else seems
• 27:07
  to. Yeah, chemists.
• 27:09
  Have you asked why this is a thing?
• 27:10
  No. Why not?
• 27:12
  Like it should be the first question you asked kind of
• 27:14
  stuff. But money talks, buddy.
• 27:15
  Yeah, I guess I'm in doing it. Come on.
• 27:18
  Doing right now. Do you think this is a podcast?
• 27:20
  This is a dream within a dream. Well, I'm in until this point
• 27:24
  because as we get into level 1, we get the stakes, or at least
• 27:30
  part of them, but a pretty big chunk of the steak, a big juicy
• 27:33
  steak. Here, T-bone, we find out about
• 27:37
  Limbo. Yes, and not the dance.
• 27:40
  Which is almost equally as bad. I would never do it.
• 27:43
  Because of the sedatives. Thanks to Yusuf.
• 27:47
  But he has, to your point, put everyone in danger because now
• 27:53
  it's established that if you die in the dream, you don't wake up.
• 27:57
  Yes, because nosedives are have you on your ass.
• 28:00
  Yeah, they're relying on that. Hardy even says don't worry,
• 28:03
  just wake him up because sado. Is yeah, he got.
• 28:06
  Shot Sado got shot Tourism uninvited.
• 28:10
  Out of all those bullets, yes, I'm glad at least one.
• 28:13
  Registered I will say all the bullet work in this movie.
• 28:16
  Sucks. It was like you and COD.
• 28:17
  This is how it's like to play with Phil.
• 28:19
  Yeah, I shouldn't say anything. You're better than me, actually.
• 28:22
  Probably lately. Lately, sure, but it is that I
• 28:26
  just love. I really think it's that's the
• 28:29
  worst thing of the. Movie I feel like it's just
• 28:30
  trying to keep. Us busy.
• 28:31
  They're getting close. Like that action sequence when
• 28:33
  they're in the taxi level 1. They're just setting up.
• 28:36
  It's point blank. You're inches away from me.
• 28:39
  What are we doing here? I don't know.
• 28:40
  I don't like big gun sequences anyway, as you know, big action
• 28:43
  set. Piece.
• 28:44
  At the very least, do it well. It borrows, bores me, but that
• 28:46
  I'm just like, you're better than this.
• 28:48
  Like, come on. And especially watching it
• 28:51
  multiple times, like it's one of those that, OK, I've never liked
• 28:55
  it and never will. I'm not coming around.
• 28:57
  On it. It's like the battle on the
• 28:58
  bridge too. Later, like so again, he's
• 29:01
  trapped on the bridge as it's elevating.
• 29:03
  No one's making a move, this guy.
• 29:06
  Just like what looks like the most inert action sequence I've
• 29:10
  ever seen. Is it wants to literally show us
• 29:12
  the passing of time? I don't know.
• 29:14
  So it's pretty lame. At least Eames.
• 29:17
  Gets it? Don't be afraid to imagine
• 29:20
  bigger. And he gets out this grenade
• 29:22
  launcher, basically, yeah, and takes out the guy that JG has
• 29:26
  been taking potshots. Couple licks here and there,
• 29:28
  just giving away a position. Speaking of Call of Duty, you
• 29:31
  wonder why maybe you're not doing so well.
• 29:32
  That is such my style. You're the chucker, Chuck.
• 29:36
  I don't know the term for what I'm doing is, but it's not
• 29:38
  helpful hurting. US.
• 29:41
  The point is at least gets him in the van and the way they go.
• 29:44
  Yeah, they realize quickly that he is fortified.
• 29:47
  Yeah, because Fisher's brain is militarized, so he's been
• 29:51
  trained for. This someone has already
• 29:53
  prepared him for what Cobb is doing.
• 29:55
  GL has. To do doesn't have a big job
• 29:58
  kind of shit the bed on this one.
• 30:00
  And I think Cobb, he gets angry at Arthur.
• 30:03
  Really, really angry. But no one can get angry at him
• 30:06
  like we get shot. We're limbo here.
• 30:08
  Like cops the mastermind, everyone else is lackeys.
• 30:10
  Yeah. Now do you understand, Limbaugh?
• 30:12
  Why? That's why we're talking about
• 30:13
  it. Do you get it?
• 30:15
  Because it could be a little bit tricky, Phil.
• 30:17
  Yeah, I mean it is a period of time where at intervals the poll
• 30:25
  goes down a wrong. OK.
• 30:28
  To the song and then you go under it what is this then it
• 30:33
  gets a little lower. Yes.
• 30:35
  And a little lower yeah. So that conceptually, like I'm
• 30:39
  on point. I've known that since the
• 30:41
  beginning of the kid. How about in this scenario in
• 30:44
  the movie? Yeah, we.
• 30:46
  Do hear. They explain a little bit of
• 30:48
  scrambled egg brains and decades lost to time.
• 30:52
  Possibly. I find it a little too vague.
• 30:56
  Vague. Let's say for it to really make
• 30:59
  a lot of sense, it's meant to be foreboding, it's meant to be
• 31:02
  threatening, it's meant to be dangerous.
• 31:04
  You don't want to go. But I don't think they really do
• 31:06
  a good enough job and I prefer to think of my limbo with a
• 31:09
  song. In a sense it's ironic that we
• 31:11
  get so much explanation, yes, but they left a little bit to
• 31:15
  the imagination of what really limbo is.
• 31:17
  Now what I understand after the 17th watch is it's unconstructed
• 31:22
  dream, which is no architect there of course.
• 31:27
  And what is there are the experiences of the people that
• 31:30
  have been there before? Of all the people that have been
• 31:33
  into limbo before, I would. Imagine the people currently
• 31:35
  hooked up to the machine. OK, OK.
• 31:38
  And only one of that group of people have been there, and you
• 31:41
  can guess who it's been. That's a corn on the cob right
• 31:44
  there. Yeah, as we get through this
• 31:46
  movie, we'll realize that he has issues.
• 31:48
  Clearly. The audience knows you've got a
• 32:00
  bad history of watching a movie Too often.
• 32:03
  It's high. I bring back check available in
• 32:06
  the archives. Of course, Saving Private Ryan,
• 32:08
  where you would get it soured, right.
• 32:11
  You had started and you're like, it was great.
• 32:13
  It became ripened, Yeah. And then it began to.
• 32:16
  Rot. Yeah, should go back and edit
• 32:18
  that one. So I wonder if you've had this
• 32:20
  experience saying 17 times you clearly still enjoy it or
• 32:22
  engaged by it. So let's talk about what are you
• 32:25
  getting out of it as you continue to watch.
• 32:27
  It this movie is in my Tier 2, I want to clarify that Saving
• 32:32
  Private Ryan is in tier one with Armageddon and Pearl Harbor.
• 32:36
  So those are the ones that you watch in real time.
• 32:38
  Tier 2 you watch in 1 1/2 speed. Tier.
• 32:41
  The top tier I'm talking watched the movie 30 times.
• 32:44
  Gotcha. This and Interstellar actually
• 32:46
  are both at the top of Tier 2, which I've both watched 12 to 20
• 32:50
  times. So they're up there, but they're
• 32:52
  not. Having quite penetrated.
• 32:54
  We're not at top, yeah, which is fortunate they haven't soured,
• 32:58
  but it could be just the filmmaking and other elements
• 33:00
  that causes saturation if you. Got you.
• 33:04
  Got it. Yeah, yeah, yeah.
• 33:05
  Let me write that one down. But either way, when you've
• 33:08
  watched a movie that many times, you tend to, let's just say the
• 33:14
  sedative starts to wear off. Yeah, a little less deep.
• 33:18
  I don't know if you do this as well.
• 33:19
  I think we've talked about it before, but you notice other
• 33:22
  things in the movie. The frame is no longer just Neo
• 33:24
  in the middle, you're watching the light switch on the corner.
• 33:27
  Exactly whatever. I do find myself doing that a
• 33:29
  little bit more in this watch, which normally is something I
• 33:32
  would be doing in watch #3 or 4 of a movie, but because there's
• 33:35
  so many questions in this one, it's kept me busy throughout the
• 33:38
  years. Exactly.
• 33:41
  But had a little bit of fun with this one.
• 33:42
  Yeah. Even right at the beginning when
• 33:44
  Cobb is eating food. Yes.
• 33:47
  It looks a lot like Shola, which is a dish my wife makes, which
• 33:51
  is like mung bean and rice. It's like, I've had that.
• 33:54
  OK. It's pretty good, especially if
• 33:56
  you have it at weddings. Weddings.
• 33:58
  Shola is the best. Shola.
• 34:00
  Really. Yeah.
• 34:00
  You want to know why, tell me. Salt.
• 34:02
  That's the key. That's it.
• 34:04
  You just put more salt in it. It makes everything taste
• 34:06
  better. You don't notice that.
• 34:08
  No, I don't put salt on anything.
• 34:09
  I'm putting salt on everything but I got the blood pressure
• 34:11
  machine now. More salt is the better.
• 34:13
  Exactly, but I always thought it was pronounced shala.
• 34:18
  No New England clam show lot Cholam, but it is from another
• 34:25
  part of the world, Yeah. So I'm not surprised, though you
• 34:28
  do have in your family history a little bit of diversity.
• 34:32
  I guess you're too busy eating swarmers, I suppose.
• 34:35
  Yeah, a lot of Lebanese food, sure, but never any shala.
• 34:40
  I don't want to make this a food and drink segment if you will,
• 34:43
  but I also noticed the smallest of sips that Fisher took on that
• 34:48
  plane. Oh yeah, yeah, just wet the
• 34:50
  beak. Yeah.
• 34:52
  Is that a thing? Like, Yeah.
• 34:54
  The reason, I mean, I don't know for sure that this is the
• 34:56
  reason. Let's be clear, you're maybe
• 34:59
  doing 36 takes. OHP. 40 takes, 50 takes, so
• 35:03
  you're. Taking a big old gulp.
• 35:05
  Every time and then you deal with the continuity.
• 35:08
  You have a light sip the first take.
• 35:10
  You have a deeper sip the third take.
• 35:12
  When was the level now people watching the?
• 35:14
  Same zip every time. The water is high, it's low,
• 35:17
  you're cutting in between idiots that put things like 25 fails of
• 35:22
  Inception on YouTube, right? And it's just like what
• 35:26
  happened. Oh, watch the cigars.
• 35:28
  Long and short and long and short editing movies suck.
• 35:33
  That kind of nonsense. It drives me crazy.
• 35:35
  And that's so continuity errors. It's just like, well, if I take
• 35:37
  a little sip barely noticeable that cup is going to be at that
• 35:42
  sure yeah, full as as long as. Possible.
• 35:45
  It's easier to do that than a consistent medium.
• 35:47
  Ship, That's right. Good point.
• 35:49
  And if you notice the Shola scene, he's not eating it.
• 35:52
  He's just kind of playing around.
• 35:54
  With it slopping. It.
• 35:55
  Yeah, You don't want to deal with that, I'll tell you.
• 35:58
  Actually don't want to eat too much show, let me tell you, it's
• 35:59
  a lot of fiber, too much salt and the fiber to fiber.
• 36:02
  Yeah, yeah, yeah. You don't want that.
• 36:05
  Not the wedding. Now you're going to need that.
• 36:07
  I have to tell you that I haven't seen the movie quite as
• 36:11
  many times as you. Have.
• 36:12
  That's OK, you'll get there. I did notice in the moments
• 36:16
  where they're on the bullet train just setting up the
• 36:19
  initial trial with Sado train scene as they're gathering their
• 36:23
  belongings at the end and they're wondering why he's
• 36:26
  rushing off Cobb is he says. I don't like trains and he gets
• 36:29
  off, I didn't get it at 1st and then all of a sudden it's like
• 36:33
  well cause a fucking train runs through this guy's subconscious
• 36:36
  and killed him and his wife doesn't like trains.
• 36:39
  Trains fucking ruined his whole life.
• 36:41
  He asked for it though. But that was his choice.
• 36:44
  I agree. But my point is just when he
• 36:46
  says that line at minute 25 of the movie, it's a throwaway and
• 36:50
  I didn't pick up or ever notice it.
• 36:52
  And then now you watch the whole rest of the movie and you're
• 36:54
  like, well, yeah, this guy doesn't like trains.
• 36:56
  It's an easy line, but of course doesn't like trains.
• 36:58
  And we play off the rest of the. Movie.
• 36:59
  I had something else in the train scene that stuck out to me
• 37:02
  and just saying where he says every man for himself, and I
• 37:06
  don't think that's a very nice thing to say.
• 37:09
  It sounds cool. Like every man for himself.
• 37:13
  Yeah, that's a bit of a Dick move.
• 37:14
  Totally. He's a bit of a Dick, yeah.
• 37:16
  He's not a nice guy. He's.
• 37:19
  He's gone through a. Lot.
• 37:20
  I mean, he's obviously portrayed as the protagonist.
• 37:23
  He's our main guy, he's our go to, but ultimately there's a
• 37:28
  fairly unreliable kind of narrator.
• 37:29
  He's an unreliable lead. He's an unreliable protagonist,
• 37:35
  and I think it pairs well with and makes more sense perhaps
• 37:39
  when paired with the fact that the true antagonist of this
• 37:43
  movie is Mall. OHS.
• 37:46
  Ex-wife as JGL says no dead faced.
• 37:50
  No, I don't think it was his place to say anything about
• 37:53
  that. Well, he's talking out of.
• 37:54
  Turn. They've got a lot of problems
• 37:56
  that particular unit. Has a relationship.
• 37:58
  And mall is a real problem too, they all know about her.
• 38:01
  She's shown up by this point 3-4 times.
• 38:05
  She's at the beginning causing a problem.
• 38:07
  OK. Maybe that's a one-off.
• 38:09
  But obviously not. Certainly Page says this is
• 38:11
  going to be a problem. Have you talked to the others
• 38:15
  about this? Really, and they should already
• 38:17
  have established that this guy is a loose cannon is liability
• 38:20
  denial. JGL is so classic.
• 38:22
  That's his thing. So he's OK with it.
• 38:24
  Everyone signs off, but mall showing up throughout is the
• 38:27
  antagonist. It never really thought about
• 38:28
  her as she's as bad person and which I think you're right.
• 38:31
  Yeah. And it's established because she
• 38:34
  is the antagonist and because Cobb has created her, not just
• 38:39
  made her materialize into the dream as projection, but also
• 38:43
  created and we learned, made her who she is, as it were.
• 38:47
  And we start peeling back all those layers, particularly in
• 38:50
  the back half of the movie. Do you feel sympathy for her?
• 38:55
  I don't think sympathy would quite be the right word, OK,
• 38:59
  It's a complicated situation. It's his fault.
• 39:02
  She is a projection of him and his guilt.
• 39:05
  Who she truly was. And another line from JGL.
• 39:08
  Paige asks her how was she? And he says she was lovely, so
• 39:13
  it's not truly her. So it's hard to feel sympathetic
• 39:17
  for someone who isn't actually that person isn't actually
• 39:20
  alive. Yeah, right.
• 39:21
  You're trying to have sympathy for his guilt ridden version of
• 39:26
  her. So that's why don't think I do.
• 39:28
  I think she's a great actress. She's also Baines mother.
• 39:32
  Really. Yeah.
• 39:33
  Oh. No, Bane is her father and the
• 39:36
  like in the Batman movie. She's in it, yeah.
• 39:38
  She's like a baby Bane protector, but she has worked
• 39:40
  with Nolan a few times. For me, she was, I think, kind
• 39:43
  of funny about it is after this movie she ends up playing Édith
• 39:47
  Piaf in. Name rings a bell.
• 39:50
  In Levian Rose, well, she's the one who sings.
• 39:53
  Jenna regretted the the song that wakes everybody up
• 39:57
  throughout the movie. So it's a weird coincidence
• 39:59
  because it was like 5 or 6 years later.
• 40:00
  It wasn't like On the Horizon was like an Easter egg.
• 40:03
  It just so happened that was the thing.
• 40:05
  Well, let's Mosey on down to level 2 ski.
• 40:09
  Yeah, we're gonna do the Mr. Charles.
• 40:11
  We're gonna play that character, which has a 0 success rate,
• 40:16
  because it requires telling the subject, Fisher in this case,
• 40:20
  that this is a dream. They have to expose themselves
• 40:23
  to kind of reel them back. In exactly.
• 40:26
  And it gives Hardy a chance to be a lady.
• 40:28
  You'll do anything. I like that he's up.
• 40:30
  For it in his game. I didn't think she was that
• 40:32
  pretty though either. And you like blondes.
• 40:34
  I don't, so that says a lot if you're not into her.
• 40:36
  So maybe Hardy has to work on his.
• 40:38
  He's got a couple of things to work on.
• 40:39
  Maybe plug it into. I see what they come up with.
• 40:42
  I like this stuff around Mister Charles.
• 40:45
  I'm curious to see if it works out for them.
• 40:47
  Yeah, 0% success rate relies on the.
• 40:49
  Edge. But I feel this movie needs a
• 40:52
  bit of a jolt. We be kind of on a bit of a
• 40:54
  down. OK, you talk about pacing.
• 40:56
  Yeah, pacing wise. So I think it's time to hear a
• 40:59
  little bit of Hans and just to have a big set piece showcase
• 41:05
  scene. It's show law.
• 41:09
  Big show. Let's see.
• 41:11
  And they do that here because I think they know it's time.
• 41:13
  Nolan's a smart guy. Sure, JGL.
• 41:18
  So this is his love level. Absolutely.
• 41:19
  He's not going any further here. So he gets to play with no
• 41:23
  gravity because the van is at this point.
• 41:27
  Yeah, waiting. Yusuf had a bad run and she's
• 41:31
  taking care of. It and I thought this is a
• 41:34
  fantastic scene. The music's pumping JGL, you
• 41:38
  don't see him in a lot of fighting scenes and how they
• 41:41
  shoot that I'll never know in. The revolving set piece.
• 41:44
  Yeah, it's no wonder it won visual effects, it won
• 41:48
  cinematography, because this whole section is just an amazing
• 41:52
  illustration. That's what Level 2 for me is
• 41:54
  about is all of this. And it gives me a little pump of
• 41:57
  adrenaline because like I said earlier, watching it so many
• 41:59
  times, I need a little jolt. Yeah, little kick.
• 42:02
  If you want a bit of a kick. Yeah, yeah, Wally Fister,
• 42:05
  cinematographer, won the Oscar for the guys in excellent works
• 42:09
  with Nolan up until the last couple of movies, but all of his
• 42:12
  early stuff had been him falling out perhaps.
• 42:14
  I think so. That's too bad, but really
• 42:16
  excellent and very much inclined.
• 42:18
  Both of them on in camera. Very specific way to shoot a
• 42:21
  movie. Yeah, seems like a lot.
• 42:22
  Of IMAX film, you know, a lot of those elements are really
• 42:26
  excellent. But for me, I have to tell you
• 42:28
  about the visual effects. For me, the real pinnacle,
• 42:30
  certainly when I first saw it, and it still holds up, is at the
• 42:33
  introduction of Page as architect and bringing her into
• 42:36
  Paris, the Paris that they're creating.
• 42:38
  Yeah, how did they even get? There.
• 42:40
  And he's kind of explaining right, like, you know, you just
• 42:42
  show up and dreams like. Yeah.
• 42:43
  And you're like. Yeah, that is so true.
• 42:45
  And I love it because it does call what we all think about
• 42:48
  dreams calls it out. And it also happens in movies.
• 42:51
  Frankly, the same. We don't watch the shoe leather
• 42:54
  of them walking from hotel room 6 down to 12.
• 42:58
  We cut to room. 12 I want to see the other part, you know that I
• 43:01
  love the grind. You need to know to get here
• 43:04
  this movies bullshit. So those elements I think are
• 43:07
  really clever in that moment to set it up, but what happens
• 43:09
  afterwards? Is this exploding?
• 43:11
  At the cafe pavement coming. In yeah, the city folding in and
• 43:15
  of itself, and they're walking up the walls, and all of those
• 43:19
  elements to me are peak visual effects.
• 43:21
  It's really selling to me. This is a dream world because
• 43:24
  everything is possible. That's right, the only thing I
• 43:26
  don't like about that scene is it's actually too much for the
• 43:28
  subwoofer. If you got a mid tier to low
• 43:31
  tier subwoofer, I don't know if you had one at that time.
• 43:33
  I know you're in between subwoofers.
• 43:35
  Make it. It doesn't even just rumble it
• 43:38
  like it vibrates and you don't want the vibrate, you just want
• 43:41
  the rumble, of course. So I'm literally turning it down
• 43:44
  like it's too much too much because it's crazy.
• 43:47
  Yeah, it is a little loud. I mean, that's a Hans thing too.
• 43:50
  You get that kind of song in a score.
• 43:54
  Everything but the dialogue you can hear.
• 43:56
  Everything else but yeah, the movie throughout obviously has
• 43:59
  great visual effects and special effects, frankly, but that is my
• 44:02
  peak for that for sure. Level 3 if you don't mind a
• 44:14
  little deeper I'll accept. I know if it's the snow.
• 44:17
  You're a hot guy. I am a hot guy and I love this
• 44:20
  every time I watch this movie. Sure.
• 44:22
  And the cinematography. Wally Phister.
• 44:25
  Once we get a lot of the three, yeah.
• 44:27
  My least favorite? That's really going to.
• 44:30
  Imagine you don't like. Level all the guns, all that
• 44:32
  stuff. I'm like.
• 44:33
  Yeah, you don't like the triangle tires on like the the
• 44:36
  tracker. I mean, it's cool, but it's just
• 44:38
  cool. I don't have any like emotional
• 44:39
  connection. To it.
• 44:40
  What it did trigger for me though was the VR headset.
• 44:44
  Talk to me. You know I have one, yeah.
• 44:46
  You you're living in a hole of the world.
• 44:48
  Most of the. Time.
• 44:48
  I never use it. No, it's yeah, it's under layers
• 44:52
  of dust. Yeah, $1000 well spent.
• 44:55
  I know it's your fault. It's like I'm good, I'm good, so
• 44:57
  I had to have it. Of course it's a one up mission
• 45:00
  is going to kill us I think, get us divorced and broken down.
• 45:04
  But one game that is really good as No Man's Sky, you know that
• 45:07
  I've loved that game since day one.
• 45:09
  Nobody loved it day one truth, but it's come a long way.
• 45:12
  You really stuck with it. I did and it's fully supported
• 45:15
  and it's a full world now. It won awards for most improved
• 45:18
  player in sports terms, great. They even upgraded the VR.
• 45:22
  So when you're in it, the graphics are pretty good for VR,
• 45:25
  as you know, they're not always like not top of the line.
• 45:28
  And I've done 3 sessions in the last like four or five days of
• 45:33
  that game because of this movie really.
• 45:36
  And it's just not this scene. It's not just Level 3, it's the
• 45:38
  world building, it's all of it. And I'm loving it.
• 45:42
  I even stand up because the character is standing.
• 45:45
  So if you want to feel. It do you sit when he sits?
• 45:48
  I try to, but it's hard because the adjustment, yeah.
• 45:51
  So I just stand in the ship, not the ship that often.
• 45:53
  And you don't sit in the game that often.
• 45:55
  But even when I'm running, I'll do a little jaunt and I like, I
• 45:59
  almost fell you had a kick. I was disoriented because it was
• 46:04
  too real. Wow.
• 46:05
  And I can handle like I don't have any emotions.
• 46:07
  No, yeah, you're just in. It, but I was so immersed for a
• 46:10
  moment here, a moment there that I felt a little bit woozy, but I
• 46:13
  knew I had it under control and it would pass and just a
• 46:16
  wonderful experience. You look around and there's
• 46:18
  stars and. Yeah, we talked about that with
• 46:20
  Avatar and we talked about that. Yeah, yeah, with this.
• 46:22
  Yeah. That's what that is.
• 46:24
  That kind of world, man, People just want to get out of
• 46:28
  something different. What I find interesting are the
• 46:30
  VR games that are homemakers lawn mowers.
• 46:35
  Farmers I don't want to do. That really right.
• 46:37
  You know, I remember playing a game called Heavy Rain, and one
• 46:40
  of the first things you do when you wake up in that game is go
• 46:42
  and brush your teeth in the washroom.
• 46:43
  And I think, do I want to be playing a game or do I have to
• 46:46
  like, sure, hygiene is important.
• 46:48
  Red Sue grindy for me. Red Dead Revolver.
• 46:51
  Red Dead Revolver Part 2. I remember it's like, you got to
• 46:54
  wake up. You got to cut your hair, you
• 46:55
  got save. You gotta read Redemption.
• 46:57
  Yeah, that's it. Yeah.
• 46:58
  And you have to take care of the horse.
• 46:59
  And if the horse doesn't get brushed, then that is a level of
• 47:03
  depth that I am not at all interested in.
• 47:05
  I think Sims was the game that I'll brush my teeth in.
• 47:09
  Sims. I'm not brushing my teeth in any
• 47:12
  other game, even in real life. I go to the dentist a couple
• 47:16
  times a year. Yeah, yeah.
• 47:17
  Should I don't have to brush? I'll take care of it.
• 47:20
  I make sure I get my money's worth, my friends.
• 47:24
  Actually, flossing is more important.
• 47:25
  So they say. So I floss at least once a day
• 47:28
  and it's kind of personal but I get a lot of saliva.
• 47:31
  It's hereditary, it's not my fault.
• 47:32
  My mom has the same problem. You get a lot of plaque if
• 47:34
  you're not careful. Interesting.
• 47:35
  OK. Interesting, never had a cavity
• 47:37
  in my life. Good for my adult life, my baby.
• 47:39
  Teeth. If I lived a more responsible
• 47:41
  life, yeah, I would have been fine.
• 47:42
  I grew up on good water and I had the makings of having a good
• 47:46
  teeth for sure and I blew it and I actually chipped this front
• 47:50
  tooth. Half of it's fake.
• 47:51
  Wow. I woke up 1 morning because I
• 47:54
  had fallen flat on my face on cement after a wedding
• 47:57
  reception. Woke up, put my tongue in there.
• 48:00
  This doesn't feel. Right, Too much salt Wedding.
• 48:04
  Too much concrete unfortunately and I was missing half a tooth
• 48:07
  and I look like an idiot so I had to go to the dentist because
• 48:10
  the one thing I did have was my looks.
• 48:12
  Yeah, you look great right now. Yeah, and they fixed until and
• 48:15
  I've gone to the dentist like twice a year ever since,
• 48:17
  sometimes 3. I'm in the mood.
• 48:19
  Yeah, there you go. They say every six months, so
• 48:20
  twice a year is right on pace. Yeah.
• 48:22
  But reeling it back in, we digress.
• 48:23
  Level 3 you mentioned, not a big fan.
• 48:27
  Yeah, just all the action stuff, everything happens around it.
• 48:29
  I like obviously the movie has to get to a point, but just the
• 48:32
  droves of people with big machinery and shooting guns like
• 48:35
  that is just not something that interests me.
• 48:37
  Conceptually that's perfect, but what happens there is more
• 48:40
  interesting from a plot perspective.
• 48:41
  For sure. We know we're in Fishers mind.
• 48:43
  Yeah, he thinks he's in Brownings.
• 48:45
  That's right, Mine trying to retrieve some information that
• 48:49
  he doesn't know because Browning's been made out to be
• 48:51
  the bad. Guy seems like the way the
• 48:53
  camera sometimes they'll do it about two or three different
• 48:55
  times in the movie where the camera will pan and it'll be Tom
• 48:58
  Berrenger's face, but it'll slowly push beyond it and you
• 49:02
  know, there's so you're like, OK, this is.
• 49:04
  Yeah, they don't explain that part of it, but whatever.
• 49:07
  He. Doesn't explain how he's a woman
• 49:08
  either. We just go with it.
• 49:09
  Just a talented man. He's very good.
• 49:11
  Should be on the A-Team with that.
• 49:12
  Kind of ability. Absolutely sado at this point.
• 49:16
  His died on three different levels, yeah.
• 49:19
  And if you go down further, you feel it less.
• 49:22
  That's what they. Say, But now he's even feeling
• 49:24
  it in Level 3. Luckily, Hardy gives him a
• 49:26
  little grenade. You just watch.
• 49:28
  You watch. You hang tight, yeah?
• 49:30
  I'm going to go plant some explosives because they got to
• 49:33
  prepare a kick at this point because they missed the kick.
• 49:35
  They missed it. That is the.
• 49:37
  Launch thing, my thing and I have to tell you this avalanche,
• 49:40
  I don't know what I think is interesting about that is we
• 49:43
  talk a lot about decisions that are being made and who's
• 49:45
  responsible for them and why do you go along with it.
• 49:47
  And you know, sometimes this movie, sometimes it's plotting,
• 49:49
  sometimes it's Rob. And I think to myself of
• 49:51
  everybody, and this is maybe a things to do in Denver when
• 49:54
  you're dead the. Situation I was critical of.
• 49:56
  Yes, you were elements of that movie.
• 49:58
  Rightfully so, my friends. Arguable, I urge.
• 50:02
  You load it up, check out the archives.
• 50:04
  Yeah, but my thought on this situation was, is Sato really
• 50:08
  the guy that you sign off on going to handle the situation?
• 50:12
  Cobbs, like I'm going to hang back.
• 50:13
  And Ariana, you stay with me and he seems you go a different
• 50:18
  direction. Yeah.
• 50:19
  Fisher is the most important piece of this entire equation.
• 50:23
  We'll give the guy that's already died twice in levels one
• 50:27
  and two. He's on protection duty.
• 50:30
  Ridiculous. I knew something was off about
• 50:32
  that. It's a little off.
• 50:33
  But we have to set up the scene where Cobb is with how do you
• 50:38
  say the name every, every Adney. I wanna say Ariana.
• 50:42
  One of the worst names in film. History no one have a habit of
• 50:44
  doing. That or is it just I don't know,
• 50:46
  but this is the word I mean everybody is Eames job.
• 50:49
  But they need to be together, I guess, because they're the only
• 50:52
  one that really knows what's going on.
• 50:55
  They have walked in on him multiple times.
• 50:57
  Dream eating? Yes, you know what I mean by
• 51:00
  that. Please explain.
• 51:02
  Explain to the audience. Back in the warehouse, he's off
• 51:05
  in the corner on the machine and they've even jumped in and say
• 51:09
  what? Do you?
• 51:09
  What do you do? What?
• 51:10
  Are you doing stop? Doing.
• 51:11
  This, you're dreaming by yourself is where the term
• 51:14
  derives from. Sure, I'm pretty happy.
• 51:16
  What's the combination of words you putting together there?
• 51:18
  Nice try, use your imagination for a change.
• 51:21
  And this is where Mall appears and he's ready to shoot, but he
• 51:25
  doesn't know who it. Is he's not that ready to shoot?
• 51:27
  No, I think Arianne de Shooter. Yeah, they're basically saying
• 51:33
  it's small, I can tell. Do it.
• 51:35
  And he hesitates and she shoots fish.
• 51:38
  Man down man. Down he is.
• 51:41
  I'm not gonna use the same word again, but very key to Level 3.
• 51:46
  OK, Yeah, he's the reason they're there.
• 51:47
  Yeah, he's the reason everything has happened.
• 51:49
  That's the problem. And he dies.
• 51:51
  He's gonna be in limbo. But it's all set up for this to
• 51:53
  happen. So from a moviemaking
• 51:54
  perspective it all makes sense. There's nothing wrong with it,
• 51:57
  it's just here is mall again. Yeah, she's pesky, but Paige is
• 52:02
  the one that comes up with the Plan B.
• 52:07
  Fisher's dead in limbo. They've missed their ticket out.
• 52:14
  JGL is doing his thing. He's doing.
• 52:16
  He's making it work. Yeah.
• 52:17
  This is why he was tired. Absolutely.
• 52:19
  Yeah. Doesn't do very good back
• 52:20
  checks. Yeah, he's bad on the research,
• 52:22
  but he's a man of action. But the idea is we go down even
• 52:26
  further. One more level.
• 52:28
  And this is something new I got from this viewing the shore of
• 52:32
  the subconscious. Need to give me more, I did not
• 52:35
  hear. That that's where him and Maul
• 52:37
  spent a lot of time. Which is code word for limbo, I
• 52:40
  believe. OK.
• 52:41
  And that's where they built their world and lived there for
• 52:44
  50 years. That's right.
• 52:46
  And they say we're going to have to go looking because I know
• 52:49
  where he is. This is where she wants me to
• 52:50
  be. It's got to be down there.
• 52:52
  I guess so this kind of stuff feels a little contrived at this
• 52:55
  point in the movie. I really hated, if you want to
• 52:57
  go back to my original comment, like I was already like kind of
• 53:00
  fluctuating and wrestling with. It walking up towards the.
• 53:03
  Yeah, but that last little bit where it's sort of like, hey,
• 53:07
  just go to level 4. Ohm.
• 53:09
  OK. Yeah, let's do that workout.
• 53:10
  Where's Mall? Oh, she's a level 4.
• 53:12
  What's going to find her in the level 4?
• 53:13
  No big deal. What she doing there?
• 53:15
  I lost her down there. Yeah, I locked her up down
• 53:17
  there. Why is Fisher there?
• 53:18
  I don't know. Because she wants me to go.
• 53:20
  It always felt really contrived in this moment.
• 53:22
  I was more accepting of it the second time.
• 53:24
  It's so it's so it's a little weak.
• 53:27
  To me it's hard to explain because she's not even real.
• 53:29
  That's dead, but she wants to be.
• 53:31
  Together, he is manipulating her to manipulate him into the
• 53:35
  situation. Lot of manipulating and it all
• 53:37
  started with probably a woman. But regardless, they find
• 53:42
  Fisher, they find mall. Yeah.
• 53:44
  And this is a real heart to heart moment now.
• 53:46
  I remember first time watching this, being pretty moved by it.
• 53:51
  What were your thoughts now having seen it 17 different
• 53:53
  times, maybe 18 where you're at with this particular convo?
• 53:57
  Keep in mind a lot of those watches were late at night.
• 54:00
  Sure, I just love this movie. I'm going to put an Inception.
• 54:02
  Not even if I got to the scene. This scene still hadn't really
• 54:07
  sunk in until this viewing. OK, it really clicked with me.
• 54:12
  OK, the whole theme around the guilt the Cobs character is
• 54:17
  feeling, yeah, the whole idea of him planting the idea of this
• 54:23
  isn't real. And his intentions for doing
• 54:26
  that in the 1st place, which I believe were sincere, caring.
• 54:31
  Let's get back to real life. Real life.
• 54:33
  Like I can I have to get back to reality.
• 54:35
  This should work. 50 years down, there may have only been a week
• 54:38
  up there or whatever that message, yeah, but we need to
• 54:40
  get back. Yeah, that's a long time.
• 54:42
  And they have this whole visual display of them growing old
• 54:46
  together, her emotionality, the power in that.
• 54:50
  Very good performance. On both sides, especially her.
• 54:54
  But I really understood the planting of the idea.
• 54:57
  And then he goes in and gets her totem.
• 54:59
  Yep. And like, oh, OK.
• 55:01
  You're not supposed to do. No, don't do that rule #4
• 55:04
  actually, yeah, he does a lot of things not supposed to do.
• 55:06
  So it really got to me. I always felt something is
• 55:10
  happening. Here.
• 55:10
  Yeah, like this is supposed to be a.
• 55:12
  Moment. Yeah, and now I understood it OK
• 55:14
  to why she was suicidal because it became that cancer.
• 55:19
  This still isn't real. Like I understood it why she
• 55:22
  killed herself like bits and pieces, but this just put it
• 55:25
  all. It really did it.
• 55:27
  Put it all together and boom, hit.
• 55:30
  Me. Is it because you live with a
• 55:31
  lot of regret? Honestly, yeah, yeah.
• 55:33
  Like, I've put myself into mental prisons and haven't
• 55:38
  allowed myself to get out. And I recognize it now and I'm
• 55:43
  working through it. Unfortunately, really all hit
• 55:46
  home for me this particular time.
• 55:48
  And this doesn't happen often for me where I can watch a movie
• 55:51
  this many times and still feel. No, you're usually dead inside,
• 55:55
  right? You get those sort of the.
• 55:56
  Jobs lately, so it was a nice change of pace.
• 55:59
  Yeah, totally. I would say something similar in
• 56:01
  that I didn't necessarily have that resonance quite so deeply
• 56:03
  as you, but it is definitely as you get older.
• 56:06
  I think this is. Yeah, you know, 16 years ago.
• 56:10
  That's a long life. That's in that time live world
• 56:12
  has changed. You know, one minute I'm dating,
• 56:15
  next I'm married next to divorced, Right.
• 56:17
  Like, this is a world that changes over time.
• 56:19
  I'm trending up, which is good. But yeah, in 20, when it came
• 56:23
  out and years after, it hadn't really, you weren't even open to
• 56:26
  it or even like, lived the life. And now as you're coming out,
• 56:29
  you're maybe a little bit more aware, as I am, of the mistakes
• 56:32
  made in the past and questionable behaviors and.
• 56:35
  Said yes, I get that. Yeah, I'm feeling that.
• 56:38
  Right now, I've put things in that box in that safe that are
• 56:41
  not to be touched, you know? So I think the movie does a
• 56:43
  really good job of that. And I think your to your point,
• 56:45
  the performances are such that they can draw you in even if the
• 56:49
  stuff that gets me there I think is a little contrived, a little
• 56:53
  easy, right. Oh, yeah.
• 56:54
  Level 4 pages. Totally.
• 56:56
  Like, yeah, we can do it, right. Like everyone's just so willing.
• 56:59
  Little easy. No problem.
• 57:00
  We spent two hours talking about how the complexity of Level 3
• 57:03
  and nobody could possibly. Right.
• 57:05
  And then four, like, yeah, yeah, let's go, Right.
• 57:07
  But the payoff I think is it makes it work.
• 57:09
  Well, and that's a big thing. Me is the payoff.
• 57:11
  Of course it is. And let's not forget about one
• 57:22
  more character. Yeah, the tourist one would say
• 57:25
  why even go back from at this point?
• 57:27
  I would say yeah, when I watched the first time.
• 57:28
  Just like, why are we even looking for this exactly?
• 57:30
  Why do I care if we don't bring Sado back?
• 57:34
  Cobb isn't going back to America.
• 57:36
  This is not a financial heist. This is I need to get back to my
• 57:39
  kids heist. It might be financial for
• 57:41
  yourself because he's getting his cuts.
• 57:43
  It's right. He has to go for saddle.
• 57:44
  He does not have an alternative and Paige at this point.
• 57:47
  Gets it? Yeah, you grab Fisher, you take
• 57:51
  that. They're improvising.
• 57:53
  That works for me. You fall off.
• 57:54
  It feels like it's the same thing as everything else that
• 57:56
  they said wouldn't work, like the kick wouldn't work if right
• 57:59
  like. That's a lot of floors.
• 58:00
  Yeah, I guess so. It just, when it happened, it
• 58:02
  just felt like, oh, it doesn't feel like it's the right answer.
• 58:05
  It's something to do with the defibrillator.
• 58:07
  Defibrillator. Yeah.
• 58:08
  So just gotta buy. It works for me.
• 58:10
  Again, I'm not asking, it's more.
• 58:11
  Of a question, but they look at Cobbs like, I get it.
• 58:14
  And I think the most powerful line just to end that scene is
• 58:18
  he says, you're not my wife. Yeah, you're not.
• 58:22
  That You're not caring. You're not.
• 58:24
  These things with all your perfections and imperfections,
• 58:26
  you're still not who she is or who.
• 58:28
  She was, and the way he's delivering that.
• 58:29
  He's great, he's great. Actor.
• 58:31
  He's moved on and like, the guilt is subsiding.
• 58:34
  Yeah, it is. And again, I think his
• 58:36
  intentions weren't malicious. No, I don't think.
• 58:38
  I don't think it's presented as such.
• 58:40
  Getting Page hooked on this world is probably more malicious
• 58:45
  knowing that this is like a heroin drug.
• 58:47
  Yeah, where? If?
• 58:47
  You pure creativity. Creativity of.
• 58:49
  Course you're going to come back.
• 58:51
  Also, this is like Rob and Everest, man.
• 58:54
  You're dragging a whole team into this thing because of your
• 58:56
  shitty decisions, and you're on the risk everyone's gonna die.
• 58:59
  It's really Michael Caine's fault.
• 59:01
  Yeah, he made the introductions. Should have done it.
• 59:04
  Father-in-law. Yeah, I think.
• 59:06
  Yeah. No, that's.
• 59:06
  You're right. I watched it.
• 59:07
  And that's the thing. He doesn't make any.
• 59:10
  He's an enabler. Yeah.
• 59:11
  I'm just saying. Yeah.
• 59:12
  Signed off on it. Bad news.
• 59:14
  We spoke about SPR couple times. Oddly enough, this reminded me
• 59:19
  of that because I've forgotten about the beginning of this
• 59:21
  movie. Hmm.
• 59:23
  We start with old Sado. Yes, he ends.
• 59:26
  Up man living with. Regret he's on the beach again.
• 59:29
  He's on the shore of the subconsciousness, which is why I
• 59:31
  think that's part of the whole limbo scenario.
• 59:34
  Finds them Shola chow time share a little Shola like I could do
• 59:39
  this in one take. Let me eat.
• 59:41
  I'm hungry and filled with regret.
• 59:44
  A line that we've heard, probably 3 or 4.
• 59:46
  Times. And that's very important.
• 59:48
  Yeah, there's a few of those types of lines.
• 59:50
  And I'll tell you why it's important because I have a
• 59:52
  feeling you think those two characters skipping levels,
• 59:58
  getting right back to the airplane was even easier than
• 1:00:01
  what we've just seen. Those lines are the only thing
• 1:00:04
  which allows me to say, OK, it's so powerful, like you've laid
• 1:00:08
  those out throughout the movie, that it'll trigger.
• 1:00:11
  Just the shock of seeing Cobb will pop them.
• 1:00:16
  Bring him a big leap it is and we we don't see them going up
• 1:00:20
  the levels. Really.
• 1:00:21
  No, we don't. They just wake up in a plane.
• 1:00:23
  Yeah, that's easy. Yeah.
• 1:00:25
  But, you know, movies over. Almost, yeah.
• 1:00:29
  But my real question about that, the real issue I take with it is
• 1:00:34
  what if he doesn't find Sato? Yeah, limbo is big for my
• 1:00:37
  understanding. Limbo.
• 1:00:38
  So you are down there for millennia.
• 1:00:41
  Maybe that plane flight will land at LAX.
• 1:00:46
  You've been there. That's it.
• 1:00:47
  Yeah. You're body is sitting in the
• 1:00:50
  seat hooked up to this machine, which we get a couple camera
• 1:00:53
  shots of it, but we don't know anything really about it.
• 1:00:56
  There's a button. I saw a button dispenses all
• 1:00:59
  the. Yeah, whatever, you know, what
• 1:01:02
  do you do with the body? You just circling, you know you
• 1:01:04
  only have so much fuel in the plane, so it's like if you're
• 1:01:06
  not. Yeah.
• 1:01:07
  At what point are you determined dead in the real life?
• 1:01:12
  I've nudged this guy many times. I've poured water on him, I've
• 1:01:16
  defecated on him. I don't know what else to do
• 1:01:18
  here. At what point do you declare him
• 1:01:20
  dead in the real life? The question they don't answer.
• 1:01:23
  Yeah, if you're in a warehouse and you have the space in the
• 1:01:26
  time and the IV, I guess, like you're being fed like, so you
• 1:01:30
  can survive by being there. But if you're in someone's way
• 1:01:33
  in the real world, like what's this guy hooked up here?
• 1:01:35
  We need the seat for the next flight.
• 1:01:37
  Yeah, I mean about the airline. So there isn't a next, but I
• 1:01:39
  suppose I think the thing with the movie is obviously it's
• 1:01:42
  wrapping up and it's wrapped up a number of other, hmm, bows.
• 1:01:46
  Let's say this is the least of their problems, but I agree it's
• 1:01:49
  a bit contrived. It's just one thing I've always
• 1:01:51
  wondered and it's like one of the few things that will not get
• 1:01:54
  answered. Yeah.
• 1:01:55
  However, I think I answered the final scene.
• 1:01:59
  Oh, pray tell, it's a bold statement.
• 1:02:02
  Hit me with. It with my best shot I will do
• 1:02:05
  that totems we've established. Yes.
• 1:02:08
  Loaded Die Bishop. Bishop, I thought was a root.
• 1:02:12
  You're right. It was a Bishop call.
• 1:02:14
  Come on. You know your chest and malls
• 1:02:19
  thing. Top.
• 1:02:20
  Top. Yeah.
• 1:02:21
  Spin top. Yeah.
• 1:02:22
  We kind of start thinking it's his because he's using it.
• 1:02:24
  Sure. So here we are.
• 1:02:26
  Michael Caine's nice enough to greet him at the airport.
• 1:02:29
  This guy. We've seen the home in his
• 1:02:33
  dreams and it still has that dreamy feel.
• 1:02:36
  Did you feel? That totally little ethereal,
• 1:02:38
  Yeah, so I fuzzy. We know what Nolan's doing here.
• 1:02:41
  He wants us to question camera is on the spin top.
• 1:02:45
  Hmm. And it fades to black.
• 1:02:48
  And so we don't. Know.
• 1:02:49
  We don't know. But I do.
• 1:02:51
  Tell me. Throughout the film, we have
• 1:02:53
  seen images of his kids, yes, but never their faces.
• 1:02:58
  Truth. Ever.
• 1:03:00
  When he's Mr. Charles, they're just randomly there, and I think
• 1:03:03
  somehow that's actually his totem.
• 1:03:08
  The kids are his. The kids are his totem.
• 1:03:10
  When he's in a dream, he can't see their face.
• 1:03:13
  When he's in reality, he can see their face and here we are in
• 1:03:17
  reality. I think that's a reasonable and
• 1:03:19
  good argument. I would say the only issue I
• 1:03:21
  have with it is there's issues with it.
• 1:03:24
  Well, the only one that pops in my brain is when he is talking
• 1:03:26
  to Mall in the dream. She, I believe it's in the
• 1:03:31
  dream, she is saying, who knows the kids when they're arguing at
• 1:03:35
  the table in level 4. Yeah, Like they are real.
• 1:03:38
  They are real. Look, don't you want to see
• 1:03:39
  James? Don't you wanna see Philippa?
• 1:03:41
  Which Phillip, you know, Don't you want to see Philippa?
• 1:03:44
  And he purposefully turns away from them as if they would have
• 1:03:48
  turned their faces to him. But he doesn't want to see it,
• 1:03:51
  so that becomes him making the choice not to see.
• 1:03:54
  It that's a valid point. I do know the scene that you're
• 1:03:56
  talking about that pokes a couple of holes, sure.
• 1:03:59
  My theory, It's his, hers, his hers.
• 1:04:03
  Last ditch effort sure to stay here.
• 1:04:06
  And he's afraid that if he does see their face, that he'll.
• 1:04:12
  Succumb. He'll confuse his reality with
• 1:04:16
  the dream, like she confused her reality with Yeah, and it's his
• 1:04:19
  subconscious. So yeah, he's asking himself
• 1:04:22
  those questions. Yeah.
• 1:04:22
  So I think he's just fighting it.
• 1:04:25
  I think he's fighting it. He wants to ensure that he
• 1:04:26
  doesn't see their face. He wouldn't have that's told him
• 1:04:29
  if he had, by your theory. My theory.
• 1:04:32
  I'll take it. I mean, it's open for
• 1:04:33
  interpretation. That's the nice thing about the
• 1:04:34
  move. I think Nolan purposely left it.
• 1:04:36
  Open course he did, but do you think?
• 1:04:38
  He has an answer. Do you think he's?
• 1:04:40
  I think this is my intention because I don't think he's ever.
• 1:04:42
  No, but if you look at all those movies, they have the level of
• 1:04:44
  ambiguity throughout it, right? But the argument is it feels
• 1:04:47
  dreamy but he sees their face so kind of conflicts with each
• 1:04:51
  other. Take the total out of it because
• 1:04:52
  it cuts to black before we know, so who cares?
• 1:04:54
  That doesn't matter. So that's the.
• 1:04:56
  Definitely playing with an audience 100% and that's the
• 1:04:58
  beauty of this movie. That's the beauty of him as a
• 1:05:00
  filmmaker, and that's the idea. You ask the questions and you,
• 1:05:03
  Stanley Cooper, did the same. The best directors kind of do,
• 1:05:05
  and not every movie has to be like that, but when there's
• 1:05:07
  questions to ask, they ask it and it's up to you to answer
• 1:05:10
  them. It's good art that's good.
• 1:05:12
  Art. Well, David, I'm sure it goes
• 1:05:13
  without saying, but just for the audience, this is a state on
• 1:05:17
  shelf. It was never really in question,
• 1:05:21
  OK, it's a matter of what part of the shelf, but since I have
• 1:05:26
  in 4K, it's in the 4K section. This has staying power for three
• 1:05:31
  or four reasons, I would say. OK.
• 1:05:34
  As long as I'm still curious about the movie, want to have
• 1:05:37
  access to it. So that's one reason why it's
• 1:05:40
  staying. It's what got me into Nolan.
• 1:05:43
  So there's sentimental value. The things I don't like about
• 1:05:47
  the movie have always been there, so there.
• 1:05:49
  Nothing's getting added to the list and that's important.
• 1:05:53
  And I'm still finding new things like this totem thing.
• 1:05:56
  This happened after this watching.
• 1:05:58
  So if I'm still asking questions and I'm getting some answers, I
• 1:06:02
  think there's still value to watching the movie.
• 1:06:05
  It's an easy stay on the shelf for me.
• 1:06:07
  And even when I'm not nodding, but I've seen this a lot, I am a
• 1:06:11
  little bit bored. Hans Zimmer, the scene where
• 1:06:16
  they get off the plane and they're just making eye contact
• 1:06:19
  with each other. It's it's that payoff scene for
• 1:06:22
  me. No matter what it felt for the
• 1:06:24
  last two hours and 24 minutes, I know it's sitting there waiting
• 1:06:29
  for me. Similar to movies like
• 1:06:31
  Unbreakable. That whole thing, that whole
• 1:06:34
  movie, you've lived up for that. 40, honestly, at the end really,
• 1:06:37
  and it's the score. It's a Howard in that case,
• 1:06:39
  another guy I love who worked on Blood Diamond Leo.
• 1:06:42
  There's a connection there. The whole score of the movie,
• 1:06:45
  it's good. This is the one that's on my
• 1:06:47
  Spotify. It's called In Time, and I'm in
• 1:06:50
  love with it. So it's a mainstay, if you will.
• 1:06:54
  Yeah. Now I know this is on your shelf
• 1:06:56
  because you told us and I wasn't surprised, but I want to ask you
• 1:06:59
  the same question because you had different experience with a
• 1:07:04
  little. Has it lost anything for you
• 1:07:06
  because of that one viewing? I imagine it's still in the eye
• 1:07:10
  section of your of your show, but have your feelings changed
• 1:07:15
  about it all? Well, I'm going to answer your
• 1:07:17
  question even though you've already answered it.
• 1:07:19
  Seems a lot of exposition there. Allow me to answer the question.
• 1:07:25
  Yeah. What's interesting is there was
• 1:07:27
  a time in that watch where I thought I'll never watch this
• 1:07:29
  movie again. It's over.
• 1:07:31
  It had peaked, whatever had happened, and I was done with
• 1:07:33
  it. And I wouldn't need this.
• 1:07:35
  It would be yourself like that. Wow, I don't need this.
• 1:07:37
  I'm never gonna watch it again. Luckily, there was a follow up.
• 1:07:40
  And with that follow up, it was sort of reaffirmed its spot on
• 1:07:44
  the shelf. It's incredible.
• 1:07:47
  And even the things that don't make sense are so forgivable
• 1:07:51
  because the presentation, all the pieces, all the elements,
• 1:07:55
  the way it's put together is so interesting, entertaining,
• 1:07:58
  compelling, that I'm willing to forgive it.
• 1:08:01
  And that's the mark of a good movie.
• 1:08:02
  We've talked before when a movie isn't working, you notice 1000
• 1:08:06
  things wrong with it. And when a movie is the same,
• 1:08:09
  thousand things could be wrong, but it doesn't matter because
• 1:08:11
  you like it. Yeah.
• 1:08:12
  And that's what this movie is. When I watch it, if I want to be
• 1:08:15
  critical, I can say things like, what the Hell's level 4?
• 1:08:18
  And why is it so easy to get to and why it's so easy to leave.
• 1:08:21
  And limbo, how in this vast, you know, chasm.
• 1:08:24
  I'll have answers for you eventually.
• 1:08:25
  Yeah, sure. I'm going to keep on watching.
• 1:08:27
  But I think that's the beauty of the movie.
• 1:08:30
  But who cares when you're watching it?
• 1:08:31
  Because as it gets to that level, it feels earned, even if
• 1:08:34
  it feels bullshit. So there's no reason to question
• 1:08:38
  it, because it all feels natural and part of the story, and
• 1:08:42
  that's the mark of a great filmmaker, great writing and
• 1:08:44
  good performances and everything like that.
• 1:08:45
  So it's happily on the shelf. I'm really happy that I was able
• 1:08:49
  to take a beat. Hmm.
• 1:08:51
  And go from that pretty horrendous experience.
• 1:08:54
  I really didn't like this movie. Yeah.
• 1:08:56
  And kind of investigate why and realize, put a better
• 1:09:00
  perspective on my day as it were, and watch it happen with
• 1:09:05
  clear eyes and be like, yeah, I don't know, I was just an idiot.
• 1:09:07
  That's happened to. Me.
• 1:09:08
  Sure. Yeah, that'd be there, Phil.
• 1:09:12
  That's one example. Right.
• 1:09:13
  It's a movie that you're like this, I don't know if it's doing
• 1:09:15
  the thing and you watch it month to three, six months, whatever
• 1:09:17
  you're like, what the hell was I talking about?
• 1:09:19
  I thought it was your pick. Yeah, that's how bad it that's
• 1:09:21
  how bad it was. So yeah, it's a great film.
• 1:09:23
  I'm happy to have watched it. It's hard to argue having a
• 1:09:26
  movie that won four Oscars and nominated I think, for four
• 1:09:29
  more, sure to not be on. Well, no, I don't care about
• 1:09:32
  Oscars at all, I think. That no, you don't even watch.
• 1:09:34
  It I watch it every year and I love conceptually the Oscars,
• 1:09:37
  but I think it's a marriage is if you look at the winners,
• 1:09:40
  yeah, who gives a questionable questionable at best.
• 1:09:43
  Well, that's the movie. Thanks for listening.
• 1:09:44
  Would you ask do you rate the podcast 5 star?
• 1:09:46
  Subscribe to never miss an episodes next week we've got
• 1:09:48
  coming off of my shelf. We're going back into left
• 1:09:51
  field. Ohhh deep deep left field.
• 1:09:55
  Deep, deep left centre or just left field?
• 1:09:58
  Well, because it's left centre is a little bit further, just
• 1:10:00
  saying. OK, well we're going deep left
• 1:10:02
  centre. OK, Absolutely.
• 1:10:04
  We're gonna quit the shoes. Back on Joe.
• 1:10:06
  Ohe gonna head into spring training.
• 1:10:09
  Spring training. Woo great.
• 1:10:10
  OK talk to you next week folks. Good bye.
• 1:10:13
  Bye.