Pirate Dream Space Hotel

A film that combines science fiction, thriller, suspense and other elements can always get the most extensive discussion. The public sees the most direct sensory impact and typed enjoyment; From this, Mi Ying saw the audio-visual diversity and the development of the film industry. Sociologists see the possibility of in-depth discussion. This carnival of national discussion belongs to The Matrix at the beginning of the century, to The Wandering Earth in recent years, to Nolan and his Inception at the beginning of 10.

The discussion triggered by the film is closely related to its own quality. From Inception, you can see Nolan's commerciality and originality as a film perseverer. It's about film making, about the film itself, and about psychoanalysis outside the film.

Inception is a film that has been put on the big screen for nearly ten years. It started after insomnia, but it was not filmed until the end of the Dark Knight trilogy. However, Inception's plays are not static in these years. After each film is finished, Nolan will revise Inception's plays.

The film involves the realization of many kinds of dreams: Cobb's failure to steal dreams at the beginning of the film, giulio aleni's exploration of dreams, and the four-layer dream space as the theme of the film. The audience may think that this is just another special effects film with a lot of post-production. However, Nolan's stubbornness never lets people down. Every dream in Inception has a unique background story.

In the dream space at the beginning of the film, there is a 15 and16th century Japanese-style building, which is very special in appearance and wonderful in color application. In order to express unstable dreams, this set needs to design earthquake scenes. Generally, this kind of scene needs to be covered with some kind of support, and then the earthquake effect is produced by shaking. However, due to the huge area of this set, all earthquake scenes are realized by shaking the lens.

Ariadne first entered the dream scene in Paris, because she consciously entered the dream for the first time, and this dream ended in the form of falling apart. When Leonardo's Cobb and Ariadne were sitting in the cafe, everything around them was blasted into the air.

In this shot, Nolan hopes to explode in the center of Paris, and hopes that both characters can enter the country safely. Finally, this shot is realized in the form of an air cannon, which protects the actors. Although the picture must be made by a computer, Nolan hopes to capture the picture with a camera as much as possible. What the audience finally saw was half truth and half falsehood. In this shot, everything around the actor is turning into pieces, and the pieces are further disintegrating, full of the complexity of dreams.

While teaching the concept of architect Ariadne, Arthur created a Panos triangle in his dream that could not be created in reality. This set is located in an abandoned game company, and the building materials are mostly steel and glass. When building this object, the color of the ladder wood used in the scenery is consistent with the color of the building. The whole shooting process must be completely mathematical, because the camera can only capture the impossible picture from a specific perspective. In this set, the only thing the visual effects group has to do is to remove the existing brackets under this triangle.

The first floor of this four-story dream space was shot in summer in Los Angeles. The audience must be surprised by the train that suddenly broke into when they first entered the dream. Nolan hopes that it will not only emphasize the danger posed by Cobb, but also make the whole dream chaotic. The train used at the end of the film uses the outer body of the train. The first half of it is made of low carbon steel, so it won't crash the car, just push them away to create a sense of visual disharmony and strangeness.

Nolan insisted on shooting the outdoor scene of this dream when it rained. Finally, the film crew used a rain maker that could make two or three blocks rain at the same time. In order to make the scene bright and dark, the crew marked the action route of the sun and covered it with a baffle.

In the second dream, Nolan built a real hotel, bar and hall to convince the audience. The crew set up a seesaw-like device, which can swing back and forth along the center point and can tilt 20 to 25 degrees. In this case, all the equipment needs extra fixing, because it is difficult to stand on it even if you lean against it. However, Nolan doesn't want things or people in the set to move. In the end, he only tilted the wine in the glass, and the actors were trained to keep still at this angle.

There are many rotating scenes in the hotel on the second floor of the dream. The original plan of the film crew was to build a 40-foot-high revolving corridor. Later it became 60 feet, but Nolan thought 100 foot was enough. Finally, the film crew built eight circles with a diameter of 30 feet. The scene of the hotel hangs on such a rotatable ring, and tries to move the mirror and design the action under this set. In the shooting of this scene, the lens is fixed on a certain plane and will not rotate with it, so the audience will feel that the actors are constantly fighting in the rotation. The lens in the room is different from that in the corridor, because there are many objects in the room, and once an actor falls, he is easy to get hurt. Finally, the crew accelerated and decelerated the rotation of the room according to the progress of the actors' movements.

Hillborg on the third floor is the biggest scene in the movie. Nolan hopes to see the beautiful mountains as the background from the window, and the shooting lens can show the vastness. Finally, the crew chose to shoot in Canada. When shooting the explosion in this episode, the explosion scenes in Canada actually went wrong, some of them failed to explode in time, and only some usable shots were taken. Finally, the crew reconstructed a mini-model in Los Angeles to explode and took some complete explosion shots.

The last grand scene of the film is the appearance of the subconscious edge. For Nolan, the ocean is like the subconscious. Whether the seaside buildings are damaged or not means that the subconscious will devour their memories and designs and disappear after a lot of time. The last scene in the film is presented in the form of building glaciers, and all the buildings collapse into the sea. The seaside is a building from 1920s to 1930s. These buildings gradually changed, entering the fifties and sixties and reaching the seventies and eighties. Finally, in the present world and the new generation of buildings in the future, all buildings are distributed in a grid.

Inception's shooting locations are all over the world: Tokyo, Britain, Paris, Morocco ... These different shooting locations provide countless exciting different textures for the film to meet the audience's demand for landscape, which is Nolan's way of dealing with business.

When we talk about the reflexivity of film directors, we often take Quentin's Inglourious Basterds or Ferini's Eight and a Half as examples, which is a reflection on the film creation process. Inception has been extremely luxurious in film production, but in addition to film production itself, the dream-making process of Inception is also a reflection of Nolan's reflexivity.

The dream in Inception is undoubtedly anti-common sense and anti-reality. Dreams in reality are often personal and difficult to control. In movies, dreams can be enjoyed and controlled. Here, the structure of dreams is infinite. Everything in the dream is constructed, and you create it while experiencing it.

In fact, the so-called dreaming is full of similarities with the production of movies. For filmmakers, Inception's dream universe is simply the most ideal movie world. People in dreams can change scenes at will regardless of the laws of physics. This transformation has no cost, and there are no other restrictions except imagination. You don't have to worry that no one will watch the scene. Everyone is an audience and a producer.

For everyone in the team, Nolan once explained their real positions: Cobb is like a director, Arthur is a producer, Ariadne is an art designer, Ames is an actor, Saito is a film studio and Fisher is an audience. At the same time, they also act as actors.

Each layer of dreams needs to leave one person to wake up, which is actually reminding them of the ending of the movie. In the movie, the stewardess was left in reality. The first floor was a pharmacist, the second floor was Arthur, and the third floor was Ames. At the level of film production, they are like film projectionists.

This similarity exists not only in the correspondence of work types, but also in the content of dreams. Therefore, people in movies need to "try not to let people realize that they are dreaming" in order to prevent laziness. The pharmacist on the first floor should drive steadily: this is to have a good viewing environment. Even in order to meet the needs/authenticity requirements of the audience, it is a compromise to add unnecessary scenes such as gun battles/chases/hand-to-hand combat to different movies. How similar the dreams before and after the movie are! Exactly the same.

In the late19th century, Freud developed a series of interpretations of dreams, which he believed were driven by unconscious will. Dreams are the broad road to the subconscious. His whole idea is the subconscious, and consciousness is only the tip of the iceberg of the subconscious, and everything on one side is the subconscious. But he believes that this repression of the subconscious is because there are all kinds of unsolved instinctive and intuitive ugliness under it.

Carl jung expanded Freud's cognition, thinking that dreams are revealing their feelings or emotional problems and fears to the dreamer. The purpose of dreams is to accept your body and your whole self. But at the same time, we should also learn to set clear boundaries and boundaries in our lives.

These are all discussions about the dream itself, but in the discussion of Inception's films, many film critics use Lacan's theory. In Lacan's psychoanalytic theory, "mirror image theory" was put forward as a concept. Lacan believes that the establishment of consciousness occurs in the "mirror stage" of pre-infant language period. At this stage, the baby can fully understand himself and establish self-awareness by realizing that the person in the mirror is himself. Based on this theory, Lacan calls all situational awareness that confuses reality and imagination "mirror experience".

Lacan regards "gaze" as an important keyword, and probes into the role of "gaze" in the subject's self-consciousness. He divided gaze into visible "imaginary gaze" and invisible "gaze of object A".

In Lacan's view, the eye is an organ of desire, and it is also an organ completely symbolized by order. People usually only see what they want to see or can understand, but turn a blind eye to others. This is the complete control of the symbol by the eyes. But Lacan thinks there is some possibility of escaping from order, and that is gazing. When we don't "look" but "stare", we often escape from the order and enter the imaginary relationship. Gaze takes us back to the mirror image stage.

In the film, Cobb stares at his wife's eyes in his own dream on the edge of the subconscious, which is an escape from the symbolic world for Cobb, a gap between returning to the mirror image stage and a confusion between reality and imagination.

In the movie, the first thing that catches the audience's attention is the paragraph in the mirror. In this scene corresponding to love, love and love, Cobb's state is mapped to the audience through the mirror, which is the presentation of Cobb's return to the mirror stage.

Cobb, who is addicted to imagination, faces the test of Oedipus plot. Cobb was immersed in guilt and gaze at his wife before he died, but he needed to give up the Oedipus plot and return to the symbolic world. Immersed in this gaze, Cobb lost the ability to build, so he turned to the old professor for help. The old professor is a symbolic image of his father, and the students he introduced are its embodiment and spokesperson.

As Cobb leads Ariadne into the dream world step by step, she has more and more influence on Cobb's father. In this process, Ariadne gradually mastered the ability of construction and became a substitute for Cobb's ability.

In the third dream of the film, Cobb shot and killed his wife's avatar at the prompt of Ariadne. At the end of the film, he chose to bury his wife's image on the edge of the subconscious. Under the influence of his father's image, Cobb returned to the symbolic world from imagination, divorced from his own imagination, and completed the growth and return of his role.

This was a film review ten years ago, and now it seems to be out of date. Nolan, with his unique unrepeatable magic, is still outstanding in the series of movies.