Mr. Caine wrote:It makes me sad that such lame artists even dare to bring Inception in their lyrics

it would be more lame if a band like radiohead would do that.

It's all mainstream once a movie hits one billion mark (read:DVD/Blu-Ray Sales)

The-Batman wrote:

Mr. Caine wrote:It makes me sad that such lame artists even dare to bring Inception in their lyrics

it would be more lame if a band like radiohead would do that.

Not inception related but Jay-Z's verse in Monster: "Dark Knight feeling / Die and be a hero / or live long enough to see yourself become the villain".
I didn't actually notice the first few times. But then I was like

Right at the end of the film when Cobb gets home and sees his children, it shows Michael Caine then the camera swivels round and down to the table. I don't know if anyone else saw it but on the table there's the spinning top that he must have spun before going to hug his children. It's quite a big table but if you look closely you can see it spinning in the middle but then the screen blacks out so you don't know whether Cobb was dreaming or not. If you haven't yet noticed it I strongly suggest watching the ending again because it makes the whole film so much better!

LomDodge wrote:Right at the end of the film when Cobb gets home and sees his children, it shows Michael Caine then the camera swivels round and down to the table. I don't know if anyone else saw it but on the table there's the spinning top that he must have spun before going to hug his children. It's quite a big table but if you look closely you can see it spinning in the middle but then the screen blacks out so you don't know whether Cobb was dreaming or not. If you haven't yet noticed it I strongly suggest watching the ending again because it makes the whole film so much better!

Ha bloody ha.

Do I have to point out Cobb's wedding ring? Anyway, there's one thing I only realized when I watched the movie for the 2nd or the 3rd time: when they are on the first level in that city, and they've just escaped the ambush and ran into that warehouse, Eames begins to transform into Browning. There's a case in front of Eames on the table that is full of mirrors, and those mirrors are reflecting each other so there are a lot of reflections of Tom Hardy in that case. The scene goes like: we see Hardy - CUT - we see another shot - CUT - we see Hardy again - CUT - we see another shot - CUT we see Hardy for the third time. I think they cut out and on Hardy 3 times (maybe 4), and every time they cut back on Hardy there's an extra image of Browning in the mirrors. In the first shot of this scene all the reflections show Hardy, the next time there are - for example - three Hardy-images and one Browning image and in the last shot there are only images of Browning in the mirrors. It's really cool, check it out if you haven't seen it yet

LomDodge wrote:Right at the end of the film when Cobb gets home and sees his children, it shows Michael Caine then the camera swivels round and down to the table. I don't know if anyone else saw it but on the table there's the spinning top that he must have spun before going to hug his children. It's quite a big table but if you look closely you can see it spinning in the middle but then the screen blacks out so you don't know whether Cobb was dreaming or not. If you haven't yet noticed it I strongly suggest watching the ending again because it makes the whole film so much better!

lol were you being sarcastic? You weren't obviously sarcastic because we see Cobb spinning the spinning top rather than having to asume like you did...

In the scene when Cobb and Mal are designing limbo in the sand you see a building in the background collapse as they demolish a sand castle. It wasn't that obvious the first time I saw Inception. I thought it was pretty clever.

And one more thing which is obvious but still hidden from the viewers on purpose.

It's nearly the middle of the movie when we first see what really happened on that tragic night with Mal. That she jumped off that window. However earlier in the story there are a few (maybe only one or two) cutaways when Dom is "hallucinating" about that night - he sees that window in a circa 1 second long flashback scene. I don't know if you remember that, but this happens at least one time, maybe twice. That's not what interesting is; the interesting thing - which I only saw first when I saw the movie for the 3rd time - is that the shot is exactly the same what we see later when Dom is explaining the whole situation to Ariadne. This means that the camera in those 1-second-long flashback cuts is inside the room where Dom was expecting her wife to be, and the camera looks out the window of this room, so the curtains - blown by the wind - get in the picture "accidentally", thus blotting out the image of Mal sitting in the window of the room on the other side! If you watch those really short cutaway scenes, you can clearly see a shade of Mal through the curtains that block the view! Obviously when you see this window-image for the first time it's - I don't know, the 20th minute of the movie, for example, so you have no idea about how Mal died and you have no idea what this image of that window could mean. This is really an "easter egg" for those who'll watch the movie many times, because there's no way you could spot the blurred image of Mal through the curtains for the first time. And even if you could, you would've no idea what it all about was.

DHOPW42 wrote:

LomDodge wrote:
there's one thing I only realized when I watched the movie for the 2nd or the 3rd time: when they are on the first level in that city, and they've just escaped the ambush and ran into that warehouse, Eames begins to transform into Browning. There's a case in front of Eames on the table that is full of mirrors, and those mirrors are reflecting each other so there are a lot of reflections of Tom Hardy in that case. The scene goes like: we see Hardy - CUT - we see another shot - CUT - we see Hardy again - CUT - we see another shot - CUT we see Hardy for the third time. I think they cut out and on Hardy 3 times (maybe 4), and every time they cut back on Hardy there's an extra image of Browning in the mirrors. In the first shot of this scene all the reflections show Hardy, the next time there are - for example - three Hardy-images and one Browning image and in the last shot there are only images of Browning in the mirrors. It's really cool, check it out if you haven't seen it yet

interesting.. i never noticed that.. very perceptive
this scene must be related to the scene in which Ariadne constructs 2 gigantic mirrors leading to infinitely long lines of reflections... i think that scene has everything to do with identity and how feeble our personal constructs of it are..
and also cleverly to do with reality.. flat mirrors give virtual images.. and one can easily be fooled thinking that what he/she
is seeing is in fact real.. (dream and reality must be kept separate)

judging from the scene listed Eames is a master at bending identities.. he is able to pick up his subject's mannerisms
and fit right in.

RNA--->DNA ... converting from one identity to another to mirror and compliment your host's identity.
this movie is too deep for its own good..

Hehe sorry guys I couldn't help myself.

author wrote:There is one other detail I noticed.
Why does Yusef appear to write on
the wall before take-off? Is he marking
reality?

He pushed a button that reclined his seat.

I did notice the customs uniforms was a little bit different...the agent that is letting Cobb through has a way higher rank than the second. The emblem on the shoulder is an easy giveaway. So..Saito's phone call was simply to a customs agent of a high rank which meant simply no problem to let Cobb pass through immigration. Cobb's subconscious would not fabricate this kind of detail..so yea, it all ends in reality

http://en.wikipedia.org/wiki/U.S._Custo ... Protection

Indeed. Scroll down..and you’ll discover the agent is an “Assistant Chief”

And right after Saito includes himself in on the mission (SIX!), I noticed he was scratching his wrist. Kinda like the itch one will scratch if one has done too many "shots" of Somnacin drugs when jacking-in.

And another detail that nagged me enough to give in to that the limbo scenes with Saito and Cobb is a little montage of alot of different scenes, is when the guard comes in with the gun and the top. He places the top "correctly". But in the following shot, the top is shown placed "incorrectly". Just a goof? I find it hard to believe as I noticed that on the first viewing.

And then there's the double knot Cobb ties the chair with, that his "double" Mal is sitting on. A reference to The Prestige's "langford double" knot, and of course a reference to its themes of duality no doubt in my opinion.

And when Cobb kills Saito's guards on his way to the safe, he catches the bullet casings as he fires.