I didn't know about 'Inception' when I met him. I really liked him — such a down-to-earth guy, no ego at all, just a pleasant, enjoyable guy to talk to," he told MTV. Page said he didn't view the meeting as a gateway to a project but received a call a week later. Then I got to read the script in an office. I wasn't sent a copy. The script totally blew me away," he said. The painting of Dyer, who was Bacon's lover from to his death in , shows a distorted version of his face containing a gaping hole.
The work is one of many that Bacon created of Dyer, both during his life and after his death. For Nolan, who told Tate that he turns to art when unable to express himself with words, the painting's placement is no mistake. In my work I've tried to echo or represent it cinematically," Nolan said of Bacon's work. Later in the film, the audience finds out that Mal, who stares directly at the painting before turning and speaking to Cobb, is a mere projection of the protagonist's memory.
Like Bacon's misshapen image of Dyer, Nolan is showing Cobb's imperfect, distorted version of his wife, standing directly in front of Bacon's work. Arthur's totem, an object that signifies whether or not he's in a dream or reality, is a red pair of dice.
When he shows it to Ariadne, the side with five dots faces the camera. In his dream at the hotel, the number appears several times. The hotel has at least five floors, and two "5" signs frame Gordon-Levitt several times during the zero-gravity fight scene.
The library, constructed using glass and concrete, was designed in the late '60s by famed architect William Pereira. Nolan hasn't confirmed that the fortress was modeled after the Geisel Library, though he has spoken about his appreciation for architecture and its influence on his films. I think there's a narrative component to architecture that's kind of fascinating," he told Wired.
The characters' dreams are filled with subtle hints that separate the subconscious from the real world. Though a minor detail, Nolan changed the cars' license plates to read "The Alternate State," dropping a hint that the action scene was happening in a dream. Nolan didn't intentionally create roles that mirrored jobs on a film set but admitted the filmmaking allegory is "clearly there" during an interview with Wired ,. The way the team works is very analogous to the way the film itself was made.
I can't say that was intentional, but it's very clearly there," Nolan said. Cobb, who calls the shots and makes the decisions, represents the director. Arthur, who keeps the process moving along and orchestrates all the details, mirrors a producer. Dream architect Ariadne could serve as the set designer, and Eames, who has the power to impersonate others inside of dreams, represents an actor.
As for Fischer, who's having an idea planting in his head, he could represent the film's audience. Before filming, DiCaprio met with Nolan every day for two months to talk through his character. The relationship proved to be symbiotic. He added, "Leo's very analytical, particularly from character point of view but also how the entire story is going to function and relate to his character It's actually been an interesting set of conversations, and I think it's improved the project enormously.
I think the emotional life of the character now drives the story more than it did before. The couple has co-produced a number of films including The Dark Knight trilogy, "Inception" , "Interstellar" , and more.
Though DiCaprio was the star of "Inception" as Cobb, two other notable actors were offered the part before him, sources told The Hollywood Reporter. Nolan first approached Pitt for the role but reportedly gave him 48 hours to accept or decline. When he didn't hear back in time, the filmmaker asked Smith to take it on. In Yusuf's Dileep Rao dream, a massive train mysteriously appears and plows through the city road.
The train has "" written on the front of it. Though the digits are reversed, the same four numbers are seen on the side of a nearby taxi. While Ariadne tells Cobb that she didn't include the train in her design for the dream, it's not the first time that the topic of trains comes up in the film. At the beginning of the movie, Cobb mentions in passing that he "doesn't like trains" when he's with his team. And several times throughout the film, the line "You're waiting for a train.
A train that will take you far away. You know where you hope the train will take you, but you can't know for sure. Yet it doesn't matter" comes up. The audience later learns that Cobb and Mal escaped limbo by laying down together on a set of tracks, reciting that line to each other, and getting run over by a train to return to reality.
The train in Yusuf's dream may serve as a sign that Cobb's projection of Mal is present, trying to influence the events so that Cobb will return to limbo. The line is a reference to his role as Frank Abagnale Jr. During Yusuf's dream, Fischer gives Cobb's team the six-digit code "" to open the safe with his father's alternate will. Those numbers appear in passing several times after. Their dream has become their reality.
Who are you to say otherwise? Already a subscriber? Log in or link your magazine subscription. Account Profile. Sign Out. Photo: Warner Bros. Among the most recent theories is one which argues Cobb's real totem is his wedding ring , not the top, and elsewhere, the fact he is wearing it in the final shot versus not wearing it in what we believe to be dreams , is definite proof he's in the real world. Meanwhile, Nolan, ever the enigma, couldn't give a flip about explaining the ending means or answering whether the top tips over.
Ultimately, I think the top, the ring, and any talk of totems is a massive misdirect when trying to unpack the ending. The real question the Inception ending wants us to answer is not "Did the top fall over? Because of this, Inception is also rife with hints about Cobb, his trustworthiness, and his mental stability as he grapples with the loss of his wife and trying to outrun the law.
There are big hints throughout the move which have me ready to believe that what Cobb is seeing and believing to be real at the end of Inception is not reality, but merely the result of both a final break from actual reality and him forgiving himself for subjecting Mal to lies which left her permanently changed.
Two early exchanges between Saito, Cobb, and Arthur Joseph Gordon-Levitt hold part of the root of the argument which says belief in Cobb is essential to understanding the ending. In the opening dream heist, Cobb tells Saito at dinner that the most resilient parasite is an idea. Approximately 15 minutes later in Inception 's first act, Arthur repeats the spirit of Cobb's earlier sentiment, arguing the impossibility of planting an idea in someone's head because "the subject's mind can always trace the genesis of the idea.
And now, as a viewer, all I can think about are these two statements. For the rest of Inception 's two-hour runtime, I will be thinking about tracing the genesis of the ideas the movie wants to plan in my mind and I will be cautious because those ideas can take hold like a virus.
The other part of the foundation for Cobb's reliability as ending key are two basic rules in Cobb's line of work: Dreams always start in the middle of the action. Forget the prologue in limbo; didn't this movie's story start in the middle of an actual dream taking place in Cobb's mind? Inception wants you to question everything about the nature of what you're seeing onscreen; it's part of the fun.
Through it all, we see this story play out with Cobb's personal backstory anchoring it, turning us into his sympathizers and hoping he can break free of his demons. But time and time again, Cobb proves himself to untrustworthy, either to his team, to us, or both. Consider the Cobb knows about the risk of dropping into limbo while on any of the dream levels, a key factoid Cobb doesn't tell his team until the first level. Or, how about the time Cobb decides the team will pull off the "Mr.
Charles" gambit on the second level? Reason to find Cobb way more sus than he lets on is illustrated perfectly in the following exchange between Arthur and Ariadne:. Ariadne : "Who or what is Mr. So now you've noticed how much time Cobb spends doing things he says never to do. The real kicker is this: Cobb only tells Ariadne a portion of the story about his and Mal's time in limbo. We don't learn about the infectious idea Cobb planted in Mal's mind in order to coax her back into reality — "Your world is not real" — until the third act during Cobb and Ariadne's return to limbo.
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