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September 12, 2010

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Christopher Nolan's 'Inception' - Breaking borders of space


I have an impression Christopher Nolan's 'Inception' have something common with Philip K. Dick novels, focused on exploration of dreams ('Do Androids Dream Of Electric Sheeps?') or foreseeing ('Minority Report', 'Ubique'). When we find ourselves inside one of those visions, we moves differently, more independently. This relates especially to camera movements.

Scene in hotel's hallway is probly one of most thrilling fighting sequences, because of fight choreography emloying both walls, ground and the ceiling. One camera was mounted on a dolly fastened to the side of 360 degree rotated hallway, while the secend camera moved independently on a technocrane.
Two pictures cutted together makes an extraordinary filling of gravity desorientation.
There is also a dream sequence, in which Ellen Page makes half of the city flipped vertically and she does first step from 'horizontal' to 'vertical' street. What is exacly happening, after a while you can no longer tell where the dream-world has it's top or botton (if there still is anything like it).


Instead of bothering about axis, Nolan and Pfister found other way of filming action:
"Chris and I have a general formula for covering action - from behind, from the front, and then bridging things together with diffrent sizes” - Wally Pfister, ASC

You don't disorientate spectators, while their attention will allways stay close with characters, whenever the background be turned upside down. What you gain is a sense of unlimited ability of movement throughout the space.

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