How did Cobb go into the limbo to find Saito? Saito entered limbo when he died on level 3, Cobb did not enter until after the conversation with Mal. This is why, while at Limbo, Cobb tells Ariadne that "Saito's dead by now ".
Have you just I haven't given it a close reading yet, but it looks like you basically replaced the entire text. If it is a subtantian revision, you might want to consider making it a new answer altogether, given the existing answer received substantial amount of voting and acceptance over the last 3 years of its existence. NapoleonWilson I had two options in my answer. I've removed one, and stuck to the other, given new information.
Should I delete this one and make a new answer? Show 2 more comments. Featured on Meta. Now live: A fully responsive profile. Version labels for answers. Linked Related 9. This musical design perhaps indicates that Cobb's reality was still very much a dream state too. The music only slows down when listened to from a lower level, due to the time dilation at that level.
Yes, the song was integrated into the score, but only as a theme. Numerous improbable or coincidental events that happened during parts of "reality". Cobb is saved by Saito coincidentally during the chase between Cobol Engineering agents and him. Saito has been tailing Cobb to protect his investment-not coincidental at all.
Nearly the entire team is highly proficient with all types of weaponry, though certainly Cobb at least, does not appear to have had any particularized weapons training.
How does Ariadne know how to even fire a gun, much less hit anything? All appear to be highly capable in all sorts of militaristic tasks, from skiing, to explosives, to hand to hand combat, to sniping etc. They are in a dream world during all scenes involving weapon use. Their real world weapon abilities would have no effect here. Like Eames was saying on level 1, "You need to learn to dream bigger", and then produces a grenade launcher.
During the dream state, they have limited control over the experience, similar to The Matrix. This may be a continuity error, but when Arthur goes to get Cobb in Tokyo after the failed extraction of Saito, they leave the hotel room and go to the roof for the helicopter at night. When they're on the roof, it's day. More counter-evidence: 1. The children are two years older in the last scene see cast list. The spinning top starts to wobble just as the movie ends, and also is heard to topple and scoot across the table after it cuts to black.
Hinduism and Buddhism both share the idea that the world is "maya", or an illusion and that we are on a journey of "awakening from the dream".
This has been taught by such Indian saints as Sri Ramana Maharishi and Maharishi Mahesh Yogi, who call it "Advaida", which means non-duality; the idea that all the universe is just one consciousness, connecting everything in it.
We act out our lives like a play shown onto a movie screen. But only those who achieve Nirvana a. According to the Advaida philosophy, it is only when we are in a state of deep sleep that we come close to the timeless, "true" state of being that is the universal consciousness, which all Nature is part of.
When we wake up, in effect we are waking into a world that is illusory. A separate movement believes in the specific idea that humanity is collectively dreaming a dream of guilt and separation, from which we need to wake up by practicing forgiveness. This is a metaphysic ideology given in "A Course in Miracles" and "The Way of Mastery", which are spiritual texts purportedly channelled from Jesus in the s and '90s respectively.
ACIM in particular has influenced most spiritual "new age" authors and commentators today. The wedding ring on Cobb's hand that's present in dreams but absent in the real world. To refute: This could be because in what Cobb sees as a dream, he wants Mal to still be alive and married to him keeps her alive in his memories , but in so-called reality, Cobb knows he's not married anymore and took it off.
It may, in fact, be his totem, so if Cobb took it off long ago he would not know that he wasn't in reality. While mourning his wife I doubt he would consciously check the weight.
If "reality" is his dream, which Mal says in an argument while alive, his subconscious would recreate the weight anyway; totems only tell you when you're in someone else's head unless you know you're dreaming. The kids at the end of the film are different and are older compared to the younger ones we've seen throughout the film. Their clothes are slightly different.
The girl has a white shirt underneath her red dress and his son was wearing shoes instead of sandals at the end. This is the most solid evidence. Observe carefully. Also if he was dreaming, he would not be able to know what his children's faces would have looked like turning around and seeing him seeing as how he cannot change a memory.
He even said himself earlier in the film that no matter how hard he tried, he, "can't change this moment. The top. There's a significant difference between the top that keeps spinning flawlessly when he's in a dream and the top that's spinning at the end of the film which clearly wobbles, loses momentum and does sound like it is stopping. It does wobble and lose momentum, strong signs, but it sounded not like it toppled but that the sound for the top cut out.
See the FAQ entry concerning totems. Mal's top adds another layer of unreliability to determining whether the end is reality or dream, since everyone knows the nature of Mal's spinning top; not to mention it does not take any special knowledge to cause a spinning top to fall over in your dream-that's what tops do. It is showed at the end that Cobb and Mal did grow old together for 50 years in Limbo with them walking the streets as old man and woman, two old hands hold together on the train tracks.
The rules, technical aspects of performing the Extraction and Inception in the film. Cobb remembers exactly how he got to where he is, which he wouldn't know if he was dreaming. But where was the car ride from the airport to home? Did he even think to try to remember? These aren't explicitly revealed. The emotional depth of the film. If the ending is real, it shows that Cobb does go on an emotional journey, to take a "leap of faith" to believe that Saito will honor their agreement so he could go home and see his kids and finally get over with his wife's death and guilt.
The scene where Cobb talks with old Saito is significant as it shows they've grown and become friends, as Cobb had said to him: "Come back and let's be young men together.
This is hardly evidence to support it was reality. The important part to the ending is that it doesn't actually matter if the top fell or not-if it's reality or not. That is the resolution. Cobb and Mal do not end up together. This could only be a factor of reality. If it were a dream, Cobb would have found a way of keeping Mal alive in the dream so that he could be with her.
Cobb wouldn't want to do this because he states that his recreation of her in his dreams "isn't good enough" because it doesn't truly capture what she was in real life, with all her perfection and flaws. In fact, Cobb never wanted to stay with her, he just created that projection to keep remembering her, as somebody who keeps all the time remembering of a dead loved one, but in this case he was doing that in a much "real-looking" way.
So, making them together would never work, as he kept rejecting her the whole movie. Every time this occurs, it's not cutting to another scene with in the "present" reality, but it "cuts to" either a higher or lower dream within the dream, or it "cuts to" reality.
He's not a "happy ending" director, but he's optimistic about the future All scripts start with Fade In and end with Fade Out Alternatively, Nolan is showing that what we commonly believe to be reality exists during the film, and that Cobb is indeed in what we'd call "reality" at the end of the film.
But the spinning top is a clue from him-an inception to us, the audience-that our idea of "reality" may in itself be the projection of a dreaming mind, that collectively, we are all dreaming an outpictured "reality" full of projected figures. In the teaser trailer, the music used is a custom score from Sencit Music, composed by Mike Zarin website here.
The second trailer uses a variation of the same song. The longer theatrical trailer uses a track titled "Mind Heist", composed by Zack Hemsey website here. Contrary to popular belief, the music was not composed by Hans Zimmer, who composed the actual score for the film. Near Calgary, Canada. The crew constructed the buildings in the third layer on the site of a former ski resort.
The film doesn't say, but from earlier statements, Chris Nolan declared that the film is supposed to be contemporary. To many, the children appear to not have aged in the end scene.
IMDb cast credits show that two pairs of children were cast for the two different ages about two years apart. There are multiple memories, some of which show the younger children playing at the beach, others show the younger children playing in the yard throughout the film.
The younger children also appear to run around a corner leading Cobb to Mal in the final Limbo. Certainly the children appear to be a similar age, and to be wearing similar clothing. Repeat analysis shows that the clothing is similar at the end, though not the same. The children do look older.
However, considering the power of the dreamer to alter the world of the dream, this is no guarantee that the children, if indeed they are projections, haven't just been changed by Cobb so that he will accept them as real. Certainly the story is very clever in creating this ambiguity. Cobb is unable to see their faces in his memory of the yard to confirm they look younger the body shows they are smaller.
Other theories have suggested that the reason for casting two sets of child actors were to have one set visible, while the other set only heard. The voices of the children on the phone seem older than what would belong to the children playing. Since Fischer has been told that he is in a dream and is being protected by his subconscious projections, he could simply assume that Saito is one of these projections, or as he is shown to not be fully aware of the current affairs of his father's business, Fischer Jr.
Also, it takes special dream training to be able to remember what happened on a previous level of the dream, separate from the training Fischer received to guard his subconscious.
Cobb smuggled the drug on-board and possibly didn't have time to brief the hostess on its use. Also, even if the hostess gave Fischer spiked water, it was no guarantee that he would drink it immediately, which is why Cobb offers the drink to him and proposes a toast. Nolan acknowledges that it's not easy to follow: Right before the dreamers head down to Level 3, an exasperated Ariadne asks, "Wait -- whose subconscious are we going into?
The opening sequence is Arthur's dream the villa inside Nash's dream the apartment. The training exercises follow a similar pattern: first the teacher Cobb in the cafe; Arthur on the Penrose staircase , then Ariadne in her own version of the same environment. The main mission is Eames' dream the snow fort inside Arthur's dream the hotel inside Yusuf's dream the city. Limbo is apparently limbo; it doesn't belong to anyone, although Cobb can claim squatters' rights.
One relatively easy way of keeping it straight is that the person whose dream it is stays behind in order to keep an eye on the place. Yusuf drives the van; Arthur fights the guard in the hotel; Eames sets the explosive charges.
Limbo is unconstructed i. It, like all levels of subconsciousness when hooked up to the machine, is a shared environment between the dreamers. The only thing there is anything created by a dreamer that has been down there before and is sharing the dream with you. Cobb and Saito share the dreams all the way until level 3 when Cobb goes down to Limbo but Saito doesn't. Then Saito dies and heads to Limbo. Cobb, who entered Limbo through the machine not via death now dies either in the hospital, elevator, van, or all three, it doesn't really matter.
Since Saito died before Cobb in level 3 many years have gone by for him, accounting for his age; the passage of time there is unpredictable, not at a nice proportion like the other levels. The concept of the infinite staircase Penrose stairs is used as a blueprint for the structure and form of the film and ultimately for its meaning. The fact that no definite conclusion can be given as to whether it's reality or a dream points that the entire movie is designed as one infinite staircase where the levels of the dream and reality are an analogy for the stairs in the infinite staircase.
It's similar to circling the Penrose stairs in a clockwise or counterclockwise direction that determines whether you are ascending or descending.
The sedative lasts for ten hours, which gives the team a week on the first level. The van was supposed to deliver the kick at the end of this week, but when they discovered that they needed to move a lot faster because Fischer's mind was militarized this kick came 6 days too soon. After getting kicked back to Yusuf's dream, they therefore needed to wait out those remaining 6 days before the sedative wore off and they woke up naturally.
They no longer experience trouble from Fischer's subconscious because it doesn't attack until Fischer gets kidnapped. One could assume that once the van hits the water, the others wait underneath in order to avoid being seen by Fischer, so Fischer assumes he is now safe, and in the real world.
His subconscious would then back off and not cause them trouble. Firstly, we know that the effects of one level have stronger effects on its next level than any after, which is why Saito feels less pain from his gunshot wounds as he gets deeper. Level 3 is therefore less likely to feel the effects of level 1. Secondly, the dreamers in level 1 specifically Arthur, as level 2 is Arthur's dream are feeling a drop which causes level 2 to lose gravity. However, the dreamers in level 2 specifically Eames, as level 3 is Eames' dream aren't feeling zero gravity, since they're experiencing a lack of gravity.
It's the movement that affects the dreamer not the experience, and thus because the dreamers probably can't feel this weightlessness when they're asleep, it won't affect their dream. The dream machine could be planted by the dreamers in each level.
The device itself does not need to be duplicated, since it could exist as an idea or projection in the dream. For example, the dreamers probably do not understand the exact physics of their weapons but they have an innate understanding and conviction of their effects bullet piercing, injury, pain, etc. With training and experience, a dreamer could develop a likewise understanding of the dream machine's properties in order for their subconscious to manage it while inside the dream.
She knows she's in Limbo and she throws herself off the tall balcony after Fischer. She either dies on impact or dies in mid air bringing her back up to level 3 albeit only momentarily while the snow fortress is crumbling. They are personalized items that help dreamers distinguish between the real world and the dream world.
Like you said, he was just waiting. In the movie it's said that the whole dream sharing technology was created by military to use dreams to train soldiers. It's easier and safer to create all sorts of scenarios and situations for soldiers to train, and all outcomes vanish once they wake up.
Somehow, not explained on the movie, Miles - Mal's father and Cobb's father in law - was involved and taught it to his daughter and Cobb who was his student. Parallel to that they felt in love, married and had children. Away from Miles they kept experimenting, dreaming inside dreams, going deeper and deeper, until they found that "deeper world". They then went there and started creating stuff, remaining there for decades. Mal ended up liking it so much that she locked away and forgot the knowledge that it was a dream and then didn't wanna leave it, believing that was reality, while Cobb knew and wanted to go back, but obviously didn't wanna leave her behind.
He then discovered her lock and changed it from "this is reality" to "this is a dream and we need to suicide together to wake up". That made her accept to return, but kept her wanting to suicide with him, which made her plot the suicide and send the letter incriminating him. That made him suspect and he had to flee to not be arrested and leave his kids with their grandmother. Saito is shot on the first level of the dream, but dies on the third level and enters Limbo minutes before Ariadne leaves Limbo.
Therefore, there isn't enough time to find Saito and kick his consciousness back to level 3 for Eames to resuscitate him. Even if they manage to resuscitate him on the third level, the kick on third level would bring him back to the second where he was still dying, and if he survived that, the kick on the second level would still bring him back to the first where he was dying the fastest anyway.
In the end, he still goes back to Limbo. Meanwhile, since Fischer was shot on the third level and sent to Limbo, his "bodies" on the other two levels were totally fine. Ariadne pushed him off the building in Limbo level 4 to provide him with a "kick" in conjunction with Eames using the defibrillator in level 3 to bring Fischer back to life in order to complete the mission. If she had just shot him again down in Limbo, he would have ended up in Limbo again.
Although no one can prove it one way or another, unless that person is Chris Nolan, it is hard to say. Afterwards, Mal is killed by Cobb, and Eames asks Saito to hold a grenade and protect Fischer while he sets up explosives.
After using the grenade to kill many projections, Saito dies, and goes into Limbo. Cobb and Ariadne go down into Limbo to find Fischer, and after Ariadne pushes Fischer off of the highest floor of Cobb and Mal's home, she jumps herself, administering the kick, and leaving Cobb alone to search for Saito. Years later, Cobb washes up on a shore and is brought inside of a large palace; inside it is Saito, though he is now ninety years old.
Both struggle to remember their situation, but slowly regain memories of their former life. Finally, Cobb, noticing the constantly spinning totem, gives Saito a message: that the world is not real. Cobb and Saito discuss going back to reality for a moment, and Saito reaches for Cobb's Beretta. Both Cobb and Saito awake from Limbo, presumably having shot themselves, and Saito immediately honors his agreement to Cobb, allowing him to return to his family with a single phone call.
Despite not having any special skills, he is an excellent shot, taking out guards in the first level with a Browning BDM.
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