Rody dit:A noter quand même que c'est Cobb qui emmène Ariane dans les limbes (parce qu'il en a construit le modèle) pour y retrouver la projection de Mall qui a emmené Fisher.
Oui. D'ailleurs, tout ça est très fumeux.
Oui. D'ailleurs, tout ça est très fumeux.
A vous lire, j’en attrape la migraine. Je suis bien content de ne pas m’être creusé la tête plus que ça en le visionnant. Ainsi, j’en ai vraiment profité à fond.
j ai l impression d assisster a une discution de fan de startrek a une convention comme decrite dans les simpson 
faut que j aille voir ce film
batte man dit:faut que j aille voir ce film
Les Simpson ou Star Trek ?
Rody dit:Quelques remarques très intéressantes : http://www.allocine.fr/communaute/forum ... age=1.html
Il fait bien de poser la question, car s'il y a un truc pas clair dans tout le film, c'est le statut des limbes.
En fait, la solution c’est de dire que tout le film est un rêve, donc incohérent par définition. Comme ça y a pas à débattre de la gravité dans le niveau +12 et la température anale de Michael Caine au réveil d’un lendemain de cuite … Ce qui fait alors passer le film dans un statut de bousace sans intérêt. 
Et pour confirmer qu’on est dans un rêve, voici un ensemble d’incohérences relevées. Des cheveux, des appareils photo, des personnages… apparaissent et disparaissent. Comme quoi on est bien dans un rêve !!
Inception (2010) - Goofs - IMDb dit: * Continuity: When the cab gets hit the first time the front grille with the Hyundai logo gets smashed in and disappears. In the second scene the grille reappears and the car has less damage than the scene before. And in the warehouse scene the grille disappears one final time.
* Continuity: When the white van emerges from the warehouse, the passenger side mirror strikes the warehouse door. However, in the next shot of van’s exterior the passenger side mirror is fully extended. In subsequent shots the mirror is flipped back once more.
* Continuity: In the scene with the falling van you see Arthur (Joseph Gordon-Levitt) asleep without the headphones originally placed on his head. Before the van falls in the water they show Arthur again wearing the headphones.
* Continuity: One car explosion shown twice. First is the shot of the car exploding in a fireball, filling the frame. Minutes later the same car is shown exploding in the same fireball, but as part of a bigger shot from further away, in the bottom half of the frame.
* Continuity: When Cobb and Ariadne are sitting at a café, her hand movements from shot to shot are out of sync, as she adjusts her hair or picks up her coffee cup.
* Continuity: In the scene where Eames is chasing down the Hummer with skiers trailing behind it, the number of skiers on the ropes alternates between five and six in different shots.
* Continuity: When Arthur collects Cobb in Tokyo, they leave the hotel room and go to the roof for the helicopter - it is clearly at night. When they are on the roof, it is already daylight.
* Errors in geography: When the helicopter lands after picking up Cobb and Arthur, it is still in Japan. The backdrop where Saito tempts Cobb though, is the Terminal Building at Farnborough Airfield, England, UK.
* Continuity: When Cobb first meets Michael Caine’s character, Leonardo DiCaprio has a hair on his right shoulder which appears and reappears as the camera cuts.
* Continuity: In the scene where Saito enters the helicopter and informs Cobb about the inception plan. In one shot, there is hard rain hitting the window in the helicopter. However, in a subsequent shot, there is no rain outside.
* Revealing mistakes: Early in the movie, when Saito is asking Cobb and Arthur to attempt the inception, Cobb and Arthur are standing outside Saito’s helicopter speaking to Saito. The rotor blades are spinning and the engine is running but there is no air moved over the two characters; their hair and clothes remain unmoved. (In the wider angle which follows, with the helicopter and the actors in the same shot, the wind is affecting them.)
* Continuity: In the scenes where Arthur and Ariadne are looking at the hotel rooms in the second layer of dreams, Ariadne’s bun keeps moving back and forth on her head. (In one scene, it is on top of her head, in the next, it is near the back, then moves up again.)
* Continuity: When Cobb and Robert are in the hotel bathroom (2nd level) Cobb kills two men. The very next scene that shows Cobb and Robert in the bathroom the dead men’s bodies have disappeared.
* Crew or equipment visible: When Fischer’s cab is being hijacked, numerous production markings are visible on the street.
* Continuity: In the scene where Saito is defending Fischer, the ventilation cover is open after they enter through it, but closed when Saito is sitting next to it. The cover is open again when Saito throws the grenade into the ventilation shaft.
* Continuity: In the first scene, when the guard says “he had only these”, and places Cobb’s gun and totem on the table, the totem is tilted with the longer end up and it is stable enough not to fall down. When Cobb is brought in, the totem is lying stable, with its long end down and short end up.
* Revealing mistakes: After Arthur chokes out the agent in the zero-gravity hallway, the dead agent’s hand and arm move slightly after Arthur lets go.
* Revealing mistakes: In the last scene that Mal appears in she is lying on the floor crying, but her tears run straight down her face as if she were standing up.
* Errors in geography: When the characters are riding the JR Shinkansen (bullet train), Cobb says that he needs to get off in Kyoto. In the next scene, there is an aerial view of Tokyo, not Kyoto. The red-colored Tokyo Tower can be seeing in that scene and also in the rooftop scene the following morning where they board the helicopter.
* Revealing mistakes: At the beginning and end of the film when Cobb meets Saito in limbo, the full-eye contacts to make Leonardo DiCaprio’s and ‘Ken Watanabe’'s eyes look glossy and bloodshot are visible in the close-up shots.
* Continuity: During the scene where Ariadne and Cobb are sitting at a café a man in a yellow jacket passes by behind Ariadne. The camera then switches to Cobb. When it switches back to Ariadne you can see that the man in the background passes here once again,
* Factual errors: At one point in the third dream, Saito is seen throwing a frag grenade down a vent and it explodes into fire. Frag grenades do not do that, they explode into fragments; incendiary grenades explode into fire, and they look quite different from frag grenades.
* Revealing mistakes: When the team busts into room 491 in the hotel, the door opens fractionally before Cobb’s foot hits it in the POV shot.
* Continuity: In the warehouse scene between Cobb and Ariadne, a Nikon DSLR camera is behind him on a desk. It disappears and reappears between shots.
>>> WARNING: Here Be Spoilers <<<
Goofs below here contain information that may give away important plot points. You may not want to read any further if you’ve not already seen this title.
* Incorrectly regarded as goofs: SPOILER: When Cobb and Mal commit suicide in front of the train, they look young, although we have been told that they had already spent decades in limbo by that point. This is deliberate, an artifact of Cobb’s happy recollections. A later scene in which he reflects on their life together revisits this shot, and the actors are aged to show Cobb’s corrected memory of the events.
* Incorrectly regarded as goofs: SPOILER: It is established that the being asleep for the duration of the ten hour flight would equal about a week of dream time in the first layer. The characters agree they must rush things because of Saito’s injury and the impression is given that Yusuf is driving around for maybe an hour or so in the van, however, when the group awakes they are 20 minutes from landing in Los Angeles. However, it is only Cobb who wakes up, while the others in the group were awake before then.
* Plot holes: SPOILER: At the beginning of the film we see Saito wake up from the fortress dream to be in the apartment of his mistress, and he states he knows that he is in a dream. Also after he wakes from that one he is well aware of Cobb and Arthur. However, when Fischer wakes up from the dream on the 747 he does not notice any of the people around him who were prominent parts of his dream.
Mirmo dit:Et pour confirmer qu'on est dans un rêve, voici un ensemble d'incohérences relevées. Des cheveux, des appareils photo, des personnages... apparaissent et disparaissent. Comme quoi on est bien dans un rêve !!
Bah ouais, "rêve" dans la langue de Nolan, ça se traduit par "film" dans la langue courante.
deepdelver dit:batte man dit:faut que j aille voir ce film
Les Simpson ou Star Trek ?
inception
Il y a, amha, une autre incohérence : le héros est pourchassé par une multinationale qui veut le descendre pour se venger.
Il suffit que ses problèmes avec l émigration us soient résolus pour qu’ on ne lui cours plus après… Sinon, il n irait pas voir ses gosses.
J ai cru lire que le premier niveau de rêve n était pas le rêve de la victime. Mais dans ce cas, pourquoi l inconscient le défend ? Puisque ce n est pas le sien ?
Ce film est écrit pour être mystérieux et fini dans l ambiguïté. Pourquoi ? Quel intérêt a part le marketing viral dont on vient d’ avoir 13 pages au moins…
Jmguiche… Terre a terre
jmguiche dit:Il y a, amha, une autre incohérence : le héros est pourchassé par une multinationale qui veut le descendre pour se venger.
Il suffit que ses problèmes avec l émigration us soient résolus pour qu' on ne lui cours plus après... Sinon, il n irait pas voir ses gosses.
Très juste. Cobb a deux problèmes : la justice américaine et Cobol Inc. A la fin du film, seul son problème avec la justice américaine est résolu.
jmguiche dit:J ai cru lire que le premier niveau de rêve n était pas le rêve de la victime. Mais dans ce cas, pourquoi l inconscient le défend ? Puisque ce n est pas le sien ?
Il n'y a pas qu'un subconscient par rêve. Chaque personne qui partage le rêve amène avec elle son subconscient. C'est la raison pour laquelle Mall apparait sans que ce soit forcément Cobb qui rêve.
@mirmo :
Rha le troll!
Voici la liste des goofs dans Blade Runner, par exemple.
* Continuity: Deckard’s instructions to the Esper seem to bear little relation to what the machine is actually doing as it navigates the photograph.
* Continuity: SPOLIER: At the end of the Zhora chase, Deckard fires four shots from his pistol as Zhora runs directly away from him, in line with his shots. His first two shots miss her; the second one as she breaks through a plate glass window. His next two shots both hit, but both pass through her shoulder and continue out in front of her. All the glass windows in her path should have been shattered, but none are.
* Continuity: When Deckard approaches Tyrell’s office in the spinner, the sun is out of frame in the sky, indicating that it’s late morning. But when he enters the office, the sun is just below the tip of an angled building indicating early morning. As the scene progresses through about five minutes, the sun progresses normally upward past the tip of the building until the window is darkened. After a time-lapse during which Deckard asks Rachel over 100 lengthy questions involving narrative responses, she walks out of the room and we see the sun is barely out of frame again, indicating that about another five minutes have passed. Not nearly enough time to ask or answer 100 questions.
* Continuity: When Deckard and Bryant are reviewing the video from Leon’s VK empathy test, the dialogue between Leon and Holden is not as fast as it was in the original scene. In addition, Leon is heard to say “Uh…” prior to identifying his hotel room number, which he does not do in the earlier version of the scene.
* Revealing mistakes: Support cables for spinner are clearly visible in the shot where Deckard and Gaff take off after Gaff has told Deckard that Bryant wants to see him (corrected in the 2007 “Final Cut” of the movie; the wires have been digitally removed).
* Crew or equipment visible: When Deckard is being chased by Batty through the Bradbury building, there are two shadows visible on a wall; the shadows belong to director Ridley Scott and cinematographer Jordan Cronenweth (this has been corrected for the 2007 Final Cut; the shadows have been digitally removed).
* Revealing mistakes: When Deckard takes out the VK machine to test Rachel, he mimes the action. The machine is already on the table.
* Audio/visual unsynchronized: When Sebastian is talking to Batty about his chess game with Tyrell, the shot is focused on Batty, but Sebastian’s chin and lower lip are visible, and you can see that it does not move in sync with the words you can hear him saying.
* Continuity: Pris’ hair is wet while outside the Bradbury building, but only a moment later, once she goes inside, it is dry.
* Continuity: When Pris meets Sebastian, the visible words on the marquee on the Million Dollar Theatre change from “Azores Garcia…Vidas” to “Los Mimilo Co…Mazacote Y Orque” (Corrected in the 2007 “Final Cut” of the movie; the word are consistently “Azores Garcia…Vidas”).
* Continuity: When we see Zhora getting dressed after her shower, her boots have high heels. However when Deckard is chasing her the heels are flat. This is most obvious when she rolls over after he shoots her.
* Audio/visual unsynchronized: The note that Deckard plays on the grand piano is not the note we hear.
* Revealing mistakes: When Roy Batty, and Leon enter “Eye World” to interrogate Hannibal Chew, the environment is supposed to be so cold that it will kill Hannibal without his protective suit, yet there is water dripping from the icicles on the ceiling.
* Continuity: When Deckard is in his apartment examining the photograph of Rachael as a young girl with her mother, two photographs are shown. The first is a physical photograph that Deckard holds in his hands, the second is a supposed close-up of the same photo that comes to life for a brief instant. The position of the shadows in the shots show they were captured at slightly different times of day.
* Continuity: In Deckard’s apartment, the color of Rachael’s lipstick changes from red to pink/natural and back several times.
* Continuity: When we see Deckard waiting for his noodles, he is reading that day’s newspaper. Later in Leon’s apartment, the same newspaper is seen in one of the drawers, except it is old and soiled, as if it has been there for years. We know they are the same since both newspapers have the same headline about farming on the moon.
* Continuity: In Leon’s apartment, right after Deckard enters the bathroom for clues, Gaff is outside playing with a matchstick and the apartment entrance door behind him is closed; but when Deckard comes out of the bathroom and looks at Gaff finishing his sculpture, the door behind them is wide open with blue neon light streaming in.
* Audio/visual unsynchronized: When Deckard is talking to the snake vendor. You can see through the glass that each characters dialog does not match their mouth movements. This is true in all versions of the film, except the Workprint. Even in 2007 “Final Cut”, the obviousness of the error has been reduced, but if you look closely, you can still see that the audio doesn’t quite match the visual.
* Continuity: This mistake is from the Spanish dubbed version: When Deckard is talking with Bryant while they see the Leon’s interview made by Holden, in the Leon’s profile appears the birth-date: April 10, 2017. Later, when Deckard fight against Leon in the streets, he says: “Nacà el 2 de Abril de 2017”.
* Audio/visual unsynchronized: When Rachael is playing, the keys she presses don’t match the music we hear. The piano sound is in C major, but the picture shows her pressing black keys.
* Continuity: In the scene where Deckard calls Rachael on the video phone in the bar, the shot jumps the second she hangs up. You can tell specifically by the position of his head.
* Errors made by characters (possibly deliberate errors by the filmmakers): In the opening interview with Leon, Leon states: “Let me tell you about my mother…” Later, when Deckard is thinking about the interview (as he drives through the tunnel) Leon is heard saying “I’ll tell you about my mother…” This could be attributed to Deckard simply remembering the dialogue incorrectly.
* Incorrectly regarded as goofs: During the fight scene between Deckard and Leon there’s a point where Deckard gets thrown into the windshield of a car. However, when he is thrown and still in the air you can clearly see the windshield is already smashed with the imprint of his body, before he ever hits the actual glass. According to Paul Sammon however, this is not a goof - the window is broken because the car is supposed to be a derelict, not due to a continuity error.
* Audio/visual unsynchronized: When Deckard asks Racheal if Tyrel’s owl is artificial, she replies “Of course it is.” However, her lips movements do not match what we hear. This is because when the scene was filmed, actress Sean Young answered the question by saying “Of course not.” Director Ridley Scott changed this in post-production because he wanted to establish that Tyrell could make perfect imitations of living things.
* Revealing mistakes: When Deckard finds Zhora in the back room of the photograph, and zooms in on her face, the person he sees is clearly not Joanna Cassidy (the actress who plays Zhora). Additionally, when he prints out the close up of her face, the hard copy is at a completely different angle to the image on screen. The first goof was corrected in the 2007 Final Cut; the image on screen is now that of Cassidy. The second goof however remains.
* Continuity: Deckard caries the bottle of Tsing Tao to the car then it seems to disappear. If he put it in his pocket it would have smashed or fell out during the fight with Leon.
* Revealing mistakes: A hand is visible on Batty’s shoulder while he is supposedly alone in the phone booth. This is because the shot of him looking up and smiling is a flipped shot from later in the film when he meets Tyrell, just prior to saying “Nothing the god of biomechanics wouldn’t let you into heaven for” (corrected in the 2007 “Final Cut” of the movie; the hand has been digitally removed).
* Errors made by characters (possibly deliberate errors by the filmmakers): The sheet music that Rachael reads does not match the song that she plays on the piano (not least because it is for guitar). She could, of course, be playing from memory and not referring to the music at all.
* Revealing mistakes: When the street vendor is examining the snake scale, the serial number she reads out loud doesn’t match the number on her video screen (corrected in the 2007 “Final Cut” of the movie; the graphic now matches her dialogue). Additionally, she never removes the scale from the plastic bag in which it resides when Deckard gives it to her. There is no conceivable way that any microscope could produce such a clear image through plastic.
* Errors made by characters (possibly deliberate errors by the filmmakers): The positions of the chess pieces on Sebastian’s board does not match the positions on Tyrell’s board.
* Plot holes: Bryant tells Deckard that six replicants escaped from an Off-World colony. One was killed trying to break into Tyrell’s, and the others escaped. However, there are only four replicants in the film (Roy, Leon, Zhora and Pris); if one goes by Bryant’s dialogue, there should be five. This infamous goof has been corrected in the 2007 Final Cut where Bryant now says that two replicants were killed trying to break into Tyrell’s.
* Revealing mistakes: While Deckard is waiting outside the Bradbury, the support cables used to fly the police ship that investigates him are clearly visible. (This has been removed in the 2007 Final Cut.)
* Revealing mistakes: Between the Director’s Cut and Final Cut Deckard’s bruise on his face is removed to correct an amended story line. However Deckard still uses a handkerchief to dab blood away from his lips caused by the yet to happen encounter with Leon (later on he swills the blood out of his mouth which would originally have matched up with this).
* Incorrectly regarded as goofs: When Deckard performs the Voight-Kampff on Rachael there is a bellow measuring her breathing, yet we do not see Deckard attach it and there was no such apparatus attached to Leon. (The bellows are designed to collect invisible airborne particles emitted from the body, as mentioned in the original 1982 Blade Runner press-kit.)
* Continuity: The glass that Louie hands over to Deckard has a different shape than the one that Deckard takes a sip from in the following shot.
* Revealing mistakes: In the opening shot of the refinery, the fireballs appear out of sync with the “firelight” hitting the stacks. (This was corrected in the 2007 Final Cut.)
>>> WARNING: Here Be Spoilers <<<
Goofs below here contain information that may give away important plot points. You may not want to read any further if you’ve not already seen this title.
* Revealing mistakes: SPOILER: There is an obvious stunt double in the scene where Zhora crashes through the glass walls. This was corrected in the 2007 “Final Cut” version. Joanna Cassidy was brought in to re-shoot the stunts wearing the same costume and using green screen and digital manipulation to replace Lee Pulford’s (the stunt double) head with that of Cassidy’s. If you look very closely at the shot of Zhora as she stands back up after tripping, you can see that Cassiday has aged.
* Revealing mistakes: SPOILER: When Zhora crashes through the glass walls, the trigger for the blood packs can be seen in her right hand as she raises her two arms out in front of her, as well as the line snaking through her clothes.
* Continuity: SPOILER: After Pris is retired by Deckard, Batty arrives outside Sebastian’s apartment and his hair is dry. A few seconds later when he enters the apartment and finds Pris, his hair is soaking wet.
* Continuity: SPOILER: After retiring Zhora, we see Deckard with a cut on his right cheek as he buys a liquor bottle. But when Leon pulls him aside, it vanishes. Then right after this fight, Deckard’s cut reappears. This is because his purchase of the bottle was shot to take place after the fight with Leon (if you look closely behind him, you can see that Rachel is waiting for him about ten feet behind him), but during editing, it was switched to before it - thus creating the continuity error of the scar (corrected in the 2007 “Final Cut” of the movie; the scar has been digitally removed).
* Continuity: SPOILER: When Deckard is in Zhora’s dressing room there is no tattoo on her left cheek, as is seen in the photograph printed from the Esper. It is first seen when she is in the dryer. After that, it appears (darkness varies) and disappears throughout the scene. It is most prominent when her body is rolled over after Deckard shoots her.
* Continuity: SPOILER: In the final sequence on the rooftop between Deckard and Batty, Batty releases a bird he is holding while it is raining. When we cut to a shot of the bird flying away, the bird is not flying in rain, the sky is cloudless. Additionally, the building alongside which the bird flies looks nothing like the Bradbury building. Director Ridley Scott has admitted that when he filmed the rooftop scene, he was unable to get a proper shot of the bird flying due to the rain effects employed during the shoot (doves do not fly in wet weather). Consequently, the “dove-flying-away” sequence had to be shot at a later date completely different weather and beside a completely different building (Corrected in the 2007 “Final Cut” of the movie; digital effects have been used to match the sky to the weather and the building to the roof of the Bradbury).
* Revealing mistakes: SPOILER: While Zhora lies on the sidewalk, as her head is moved from side-to-side, her eyes move despite being retired.
* Revealing mistakes: SPOILER: In the scene when Rachel shoots Leon in the head from behind, when we see his head from the back, there is no entry wound visible despite the extensive damage shown on his forehead.
* Revealing mistakes: SPOILER: During the scene in which Batty inserts the nail into his hand, you can see he already has wounds from a later scene in which Deckard hits him with a pipe (his torso and head are both covered in blood). The tilework on the wall next to him reveals that it is the same room that the later fight takes place in. Additionally, the window is broken, although the scene where we see how it was broken has not happened yet.
* Continuity: SPOILER: The shorts that Batty’s using when he jumps from one roof to the other are not the same shorts he’s using when he saves Deckard from falling off the roof.
* Continuity: SPOILER: The nail that Batty pulls out of the floor has a barb on the end of it. But the nail that pierces his hand has a sharp point.
* Continuity: SPOILER: In the scene where Rachael shoots Leon, after he’s shot, its suddenly raining, but only when the camera is on Rachael. And despite that, her fur coat is perfectly dry.
* Incorrectly regarded as goofs: SPOILER: Despite being flung against several solid objects and smashed onto a windscreen, there isn’t a single mark on Deckard’s torso when he is cleaning up after the fight with Leon. The only result of the fight seems to be a little blood in his mouth. However, if Deckard is a replicant, his lack of injuries would make sense.
* Continuity: SPOILER: The tattoo is seen on Zhora’s left cheek in both the photo and after she’s retired. However, the photo is of a convex mirror in which Zhora is reflected, so the tattoo should appear on the right side of her face in subsequent scenes.
* Revealing mistakes: SPOILER: In all versions of the film other than the 2007 Final Cut, in the scene where the character Roy is introduced, he clenches his fist and you can see the nail from the end of the movie in the back of his hand.
* Continuity: SPOILER: When Decker interviews Zhora, she raises her leg and puts her foot on the wall. You can clearly see she is wearing some knee-high boots with 3 inch heels. But then she starts running and Decker shoots her dead. When she hits the ground you can see that she is wearing flat boots.
* Revealing mistakes: SPOILER: When Deckard and Pris are fighting in Sebastian’s apartment, she is played by a stunt double in some shots. In some we see Pris clearly wearing nude pantyhose that give her legs a matte look, while in other shots her legs are bare and shiny with sweat.
* Incorrectly regarded as goofs: SPOILER: The opening scroll seems to imply that the Blade Runner unit was formed as a reaction to the Nexus 6 replicants, but in the movie itself it is made clear that the Blade Runners like Deckard precede the development of the Nexus 6 (seen when Bryant has to tell Deckard about the 4 year life span - if the Blade Runner unit had been created specifically to deal with Nexus 6’s, Deckard would have known this information). This may be an indication that Deckard is a replicant.
* Incorrectly regarded as goofs: SPOILER: Early on when talking to Bryant, Deckard is surprised/puzzled why the replicants risk coming back to earth and finds it unusual. This was his previous job, and he’s apparently good at it, which is why they want ‘the old Blade Runner’ back. However, some fans see this as evidence that Deckard is in fact a replicant.
Suis pas mecontent d avoir deterré le topic 
Pour le moment je suis plutot d accord avec l interpretation de rody. J en suis a mon 6eme visionage, dont 3 en vo 
La simultaneité des kicks (chocs, desequilibres, immerssions) me parait importante pour le reveil de ceux qui ne sont pas dans les limbes.
Moz, as tu vu ma reponse en debut de page 4 ?
MOz dit:Très juste. Cobb a deux problèmes : la justice américaine et Cobol Inc. A la fin du film, seul son problème avec la justice américaine est résolu.
On ne sait pas. Un type capable d'acheter une compagnie aérienne a peut-être des amis suffisamment haut placés pour influencer la justice et les dirigeants d'une entreprise, si puissante soit-elle.
Personne ne sait à qui Saito téléphone, ni ce qu'il dit. Il ne faut pas systématiquement chercher des incohérences partout...
Sinon en règle générale je partage aussi le point de vue de Rody.
Si sait est assez puissant pour arrêter cobol, il l aurait fait avant… Sinon, cobol risquait de descendre le type dont il avait besoin.
Tiens une petite infographie qui pourrait clarifier les choses (au cas où il y aurait encore besoin de le faire 
)
Tiberias dit:On ne sait pas. Un type capable d'acheter une compagnie aérienne a peut-être des amis suffisamment haut placés pour influencer la justice et les dirigeants d'une entreprise, si puissante soit-elle.
Le film ne dit pas que le problème avec Cobol est réglé. Je ne vois donc aucune raison de supposer qu'il l'est.
kaklou dit:La simultaneité des kicks (chocs, desequilibres, immerssions) me parait importante pour le reveil de ceux qui ne sont pas dans les limbes.
La simultanéité des kicks est primordiale. C'est sa seule raison pour laquelle ils utilisent la chanson de Piaf. C'est explicitement dit par l'un des personnages.
kaklou dit:Moz, as tu vu ma reponse en debut de page 4 ?
J'ai lu. La séquence où Cobb teste la réalité, seul, un flingue à la main atteste qu'il se sert de la toupie de Mall comme totem. Il n'y a pas à chercher plus loin.
on a presque 2 heures pour aller chercher plus loin
je commence a me demander si nolan ne serait pas un fan de GEB.
comme l escalier de penrose, les differentes oeuvres de escher, ou la structure “fractale” de son montage, son film me donne l impression d une figure coherente de loin mais impossible dès qu on s y arrete un peu.
Le premier kick que le film nous montre, c’est Cobb jeté à la renverse dans une baignoire. Deux éléments nous prouvent que dans cette première occurrence l’important n’est pas la sensation de chute mais l’immersion. Tout d’abord, un élément de dialogue : Arthur ordonne à Nash de plonger Cobb dans la baignoire. Ensuite, un élément du rêve : la conséquence immédiate du kick c’est pas une modification de la pesanteur mais de faire jaillir des trombes d’eau. L’immersion est donc un kick.
La première fois que le kick est évoqué en dialogue, il est défini sans la moindre ambiguïté comme étant une sensation de chute. Rien d’autre n’est évoqué. C’est tout de suite illustré par Eames déséquilibrant la chaise d’Arthur. Ceci est illustré une deuxième fois lorsque Yusef teste son sédatif spécial sur Arthur. Dans ce second cas, Arthur se réveille avant même que sa chaise ne touche le sol. Il n’y a donc aucun choc, rien que la chute. La sensation de chute (et uniquement elle) est donc un kick.
Dans les rêves imbriqués, c’est la chute du van (et non le choc avec la rambarde) qui est le premier kick. Le second kick n’est pas le retour instantané à la gravité due au contact du van, avec l’eau comme je le pensais. Non, c’est tout simplement l’immersion des personnages.
Dans l’hôtel, c’est un peu plus compliqué que ce que j’expliquais. Il ne fait absolument aucun doute qu’Arthur se demande comment créer une sensation de chute quand on est apesanteur. C’est dit explicitement dans les dialogues. En fait, les explosions propulsent la cabine d’ascenseur et crée une accélération qui simule un semblant de gravité. Il y a un plan sans ambiguïté où les corps des personnages sont plaqués contre le sol de la cabine. Le choc avec le sol de la cage d’ascenseur annule cette gravité, ce qui fait décoller les corps (il y a un plan très explicite) et crée la sensation de chute.
Dans la forteresse enneigée, le kick, c’est la chute de la plateforme suite à l’explosion des fondations par Eames.