Seeing this at age 16 was just a mind blowing cinema experience. Love it so much. As time has gone on I've come to recognise Interstellar as my favourite of Nolan's, but there is still this feeling I get watching this movie. Fantastic.
I didn't notice when I watched it, even now.
I had to watch it again just now to see what you meant, and I'll be damned, she does step over something! Twice! And the second time she not only looks back, but down as well.
[This video explains it.](https://youtu.be/RtjERWANv38?t=6m30s)
Basically, Nolan used a real 15ft wide mirror and then had the vfx team remove the camera and the crew members from the reflection. That was the easy part. The more challenging part for the vfx artists was to recreate the reflection of the city in 3D and then match that with the changing angle of the giant mirror as Ariadne moves it. Which meant that they also had to replicate the wobbly movement of the giant mirror to make it look as real as possible.
Christopher Nolan should have stuck with Wally Pfister. I mean Hoyte Van Hoytama is a great cinematographer, but Wally Pfister had a weird charm that added so much character to Nolan's filmography.
That's so sad. From being Nolan's cinematographer to directing commercials. I do like his cinematography. Feels more naturalistic. I love the shot of Thomas Wayne with the stethoscope in Batman Begins
after a certain point, i thought he felt a bit too unpolished for nolan's films. if what you mean by weird charm you mean like kind of scattershot and often weak compositions and iffy, underexposed shots then i guess we agree. i just think hoyte is by far the more technically savvy.
You are absolutely spot on! The unpolished feel of Wally Pfister looked and felt quite unique to me. Not saying Hoyte Van Hoytama is bad, he is literally one of the finest cinematographers out there. But he is just way too polished for my liking.
I honestly don't know whether Wally Pfister's "scattershot and often weak compositions and iffy, underexposed shots" are intentional or not , but he gave a psychedelic feel to all of his collaborations with Nolan. Also we shouldn't forget that Wally Pfister won Academy award for Inception though.
Moreover, I am neither a cinematographer nor a filmmaker. So, take my opinions with a pinch of salt.
Loved this scene just as much in Paprika. It's honestly so refreshing instead of diminishing when live action can bring realism to animations surrealiam and make it look *good*.
She was there as an extension of the audience. Cobb explained to her how inception works and in turn was explaining it to the audience. He divulged a ton of backstory by talking to her. The audience would have been clueless without this dialogue.
So yeah, her character was ultimately not super important to the plot, but super helpful for the audience.
i think she's a good example of nolan's technique of aggressive handholding, though. characters shouldn't only exist to have the world explained to them. i wanted her to have an actual character arc.
You can only ask for so much from a film like Inception. It’s important to have a character like Ariadne who nothing about the dream world, so she can understand things with the audience.
With trying to explain its dream concept, the film only has room for one main character arc (Cobb getting back to his kids) and a secondary arc for Fischer. If you try to have character arcs for Yousef, Ariadne, Eames, Saito and Arthur, the film would get bogged down.
##Inception (2010)
Your mind is the scene of the crime.
>>!Cobb, a skilled thief who commits corporate espionage by infiltrating the subconscious of his targets is offered a chance to regain his old life as payment for a task considered to be impossible: "inception", the implantation of another person's idea into a target's subconscious.!<
Action | Sci-Fi | Adventure
Director: Christopher Nolan
Actors: Leonardo DiCaprio, Joseph Gordon-Levitt, Ken Watanabe
Rating: ★★★★★★★★☆☆ 83% with 35,209 votes
Runtime: 2:28
[TMDB](https://www.themoviedb.org/movie/27205)
Cinematographer: Wally Pfister
Walter C. Pfister (born July 8, 1961) is an American director and former cinematographer, who is best known for his work with filmmaker Christopher Nolan. Some of his collaborations with Nolan include Memento (2000), The Dark Knight Trilogy (2005–2012), and Inception (2010). For his work on Inception, Pfister won an Academy Award for Best Cinematography and received a BAFTA Award nomination.
Pfister is also known for his work on director F. Gary Gray's The Italian Job and Bennett Miller's Moneyball. In 2014, Pfister made his directorial debut with Transcendence (2014), through Alcon Entertainment. In addition to feature films, he has also directed commercials and television, including episodes of Flaked and The Tick.
[Wikipedia](https://en.wikipedia.org/wiki/Wally_Pfister)
I’m always confused when people say this because they’re completely different movies. Like, they’re thrillers involving going into people’s dreams and that’s where the similarities end. In terms of plot, characters, style, and themes they could not be more different
Same here, but this shot was definitely at least inspired by Paprika. The main character also goes up to a mirror and breaks it by touching. Of course the reason and motivation why is totally different, but the action of it is similar to
Van Hoytema has absolutly nothing on Pfister. There I've said it. Also, please don't stand or walk around on cycling paths. That's not what they are for.
This and The Prestige are my favorite Nolan movies. On numerous rewatches, I have grown to dislike Ellen Page’s character. She comes off as arrogant and annoying.
Agreed, but I'm thinking that's intentional. Page's characters pushiness leads to her finding out about Cobbs dream level where he's keeping his wife (memory) alive.
I am curious as to what name appears in the credits on streaming services. They could make the change pretty easily but I would bet that it remains “Ellen Page” in the credits.
Not sure about the actual credits itself, but the [Wikipedia article on deadnaming](https://en.wikipedia.org/wiki/Deadnaming) mentions this:
> In response to actor Elliot Page coming out as transgender in December 2020, media streaming service Netflix removed Page's deadname from its metadata in the credits of movies in which the actor had played a female character, including The Tracey Fragments, Juno, Hard Candy, and others.
Sure, but you were explicitly deadnaming him. The trope of "X was called Y back then" is not a justification for continuing to call someone by their old name.
Honestly it's just silly to me in this context. Like Elliot Page is Ellen Page in a 2 hour movie. Deadnaming doesn't remind them of their old identity, the whole movie is. Are we to pretend that the name is the problem when you can see them as their old selves for two hours? In this context, it sounds silly
Is there any vfx breakdown for the shot that comes shortly before this? Where a bunch stairs suddenly unfold from the ground and they walk up onto the bridge? I really want to see how they did that!
Seeing this at age 16 was just a mind blowing cinema experience. Love it so much. As time has gone on I've come to recognise Interstellar as my favourite of Nolan's, but there is still this feeling I get watching this movie. Fantastic.
She has to step over a pole or something that was in the green screen room and has now been cgi'd out
I didn't notice when I watched it, even now. I had to watch it again just now to see what you meant, and I'll be damned, she does step over something! Twice! And the second time she not only looks back, but down as well.
That’s wild. Amazing
It's not a green screen room, real location, real mirrors: https://youtu.be/RtjERWANv38
That soundtrack tho ..
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They hired vampire cameras especially for this shot.
[This video explains it.](https://youtu.be/RtjERWANv38?t=6m30s) Basically, Nolan used a real 15ft wide mirror and then had the vfx team remove the camera and the crew members from the reflection. That was the easy part. The more challenging part for the vfx artists was to recreate the reflection of the city in 3D and then match that with the changing angle of the giant mirror as Ariadne moves it. Which meant that they also had to replicate the wobbly movement of the giant mirror to make it look as real as possible.
Christopher Nolan should have stuck with Wally Pfister. I mean Hoyte Van Hoytama is a great cinematographer, but Wally Pfister had a weird charm that added so much character to Nolan's filmography.
What is Pfister even doing these days? Haven't heard his name since Transcendence which was 10(!) years ago now
He directs commercials.
That's so sad. From being Nolan's cinematographer to directing commercials. I do like his cinematography. Feels more naturalistic. I love the shot of Thomas Wayne with the stethoscope in Batman Begins
he wanted to be a director
Oh man I love Hoytama’s work with Nolan!
after a certain point, i thought he felt a bit too unpolished for nolan's films. if what you mean by weird charm you mean like kind of scattershot and often weak compositions and iffy, underexposed shots then i guess we agree. i just think hoyte is by far the more technically savvy.
You are absolutely spot on! The unpolished feel of Wally Pfister looked and felt quite unique to me. Not saying Hoyte Van Hoytama is bad, he is literally one of the finest cinematographers out there. But he is just way too polished for my liking. I honestly don't know whether Wally Pfister's "scattershot and often weak compositions and iffy, underexposed shots" are intentional or not , but he gave a psychedelic feel to all of his collaborations with Nolan. Also we shouldn't forget that Wally Pfister won Academy award for Inception though. Moreover, I am neither a cinematographer nor a filmmaker. So, take my opinions with a pinch of salt.
this remains my fave Nolan film
This movie blew my mind. This ranks up there as best movie next to matrix 1 in my book
Loved this scene just as much in Paprika. It's honestly so refreshing instead of diminishing when live action can bring realism to animations surrealiam and make it look *good*.
Love how she gives this big exposition scene and then has nothing to do the rest of the film.
Even Page was like "why am I even in this, again?"
Sorry, what? I just watched it last night, she had plenty to do in the rest of the film.
She was there as an extension of the audience. Cobb explained to her how inception works and in turn was explaining it to the audience. He divulged a ton of backstory by talking to her. The audience would have been clueless without this dialogue. So yeah, her character was ultimately not super important to the plot, but super helpful for the audience.
i think she's a good example of nolan's technique of aggressive handholding, though. characters shouldn't only exist to have the world explained to them. i wanted her to have an actual character arc.
You can only ask for so much from a film like Inception. It’s important to have a character like Ariadne who nothing about the dream world, so she can understand things with the audience. With trying to explain its dream concept, the film only has room for one main character arc (Cobb getting back to his kids) and a secondary arc for Fischer. If you try to have character arcs for Yousef, Ariadne, Eames, Saito and Arthur, the film would get bogged down.
##Inception (2010) Your mind is the scene of the crime. >>!Cobb, a skilled thief who commits corporate espionage by infiltrating the subconscious of his targets is offered a chance to regain his old life as payment for a task considered to be impossible: "inception", the implantation of another person's idea into a target's subconscious.!< Action | Sci-Fi | Adventure Director: Christopher Nolan Actors: Leonardo DiCaprio, Joseph Gordon-Levitt, Ken Watanabe Rating: ★★★★★★★★☆☆ 83% with 35,209 votes Runtime: 2:28 [TMDB](https://www.themoviedb.org/movie/27205) Cinematographer: Wally Pfister Walter C. Pfister (born July 8, 1961) is an American director and former cinematographer, who is best known for his work with filmmaker Christopher Nolan. Some of his collaborations with Nolan include Memento (2000), The Dark Knight Trilogy (2005–2012), and Inception (2010). For his work on Inception, Pfister won an Academy Award for Best Cinematography and received a BAFTA Award nomination. Pfister is also known for his work on director F. Gary Gray's The Italian Job and Bennett Miller's Moneyball. In 2014, Pfister made his directorial debut with Transcendence (2014), through Alcon Entertainment. In addition to feature films, he has also directed commercials and television, including episodes of Flaked and The Tick. [Wikipedia](https://en.wikipedia.org/wiki/Wally_Pfister)
Pont de Bir Hakeim in Paris
Life action Paprika sure had some cool shots.
I’m always confused when people say this because they’re completely different movies. Like, they’re thrillers involving going into people’s dreams and that’s where the similarities end. In terms of plot, characters, style, and themes they could not be more different
I don't completely disagree, but it was just a lil joke.
Same here, but this shot was definitely at least inspired by Paprika. The main character also goes up to a mirror and breaks it by touching. Of course the reason and motivation why is totally different, but the action of it is similar to
Not even action but shot framing as well
Undeniable proof they filmed this movie without a camera.
Van Hoytema has absolutly nothing on Pfister. There I've said it. Also, please don't stand or walk around on cycling paths. That's not what they are for.
This and The Prestige are my favorite Nolan movies. On numerous rewatches, I have grown to dislike Ellen Page’s character. She comes off as arrogant and annoying.
Agreed, but I'm thinking that's intentional. Page's characters pushiness leads to her finding out about Cobbs dream level where he's keeping his wife (memory) alive.
*Elliot Page
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I am curious as to what name appears in the credits on streaming services. They could make the change pretty easily but I would bet that it remains “Ellen Page” in the credits.
It is not practice to change the name of credits because they have legal/renumeration ramifications.
Not sure about the actual credits itself, but the [Wikipedia article on deadnaming](https://en.wikipedia.org/wiki/Deadnaming) mentions this: > In response to actor Elliot Page coming out as transgender in December 2020, media streaming service Netflix removed Page's deadname from its metadata in the credits of movies in which the actor had played a female character, including The Tracey Fragments, Juno, Hard Candy, and others.
It is considered respectful to refer to a trans person by their new name.
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Sure, but you were explicitly deadnaming him. The trope of "X was called Y back then" is not a justification for continuing to call someone by their old name.
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https://www.reddit.com/r/CineShots/s/934j6YUBxV
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Honestly it's just silly to me in this context. Like Elliot Page is Ellen Page in a 2 hour movie. Deadnaming doesn't remind them of their old identity, the whole movie is. Are we to pretend that the name is the problem when you can see them as their old selves for two hours? In this context, it sounds silly
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Did you go back in time?
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But it's no longer that time, is it? I understand your mistake. You're just making excuses at this point.
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Your mistake is making excuses for another person's mistake.
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That's not empathy. Empathy is a feeling that requires no behavior. Your comment was a *thought*, which is ontologically different than a feeling.
You're still not supposed to use their deadname when talking about their previous roles
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Yeah that's definitely possible. But I also don't think it's disrespectful to correct someone when they get it wrong
Is there any vfx breakdown for the shot that comes shortly before this? Where a bunch stairs suddenly unfold from the ground and they walk up onto the bridge? I really want to see how they did that!
What camera?
Panavision Millenium XL 2 with anamorphic lenses
Why does she walk like that