Buong transkripsyon ng INCEPTION

00:05:24.050 experiencing it we want to recapture that emotion 00:05:24.050 --> 00:05:32.430 um before we ramble um what did you think of 00:05:32.430 --> 00:05:37.670 the visuals so what i really liked about the 00:05:37.670 --> 00:05:40.870 visuals that the dream world in the dream world 00:05:40.870 --> 00:05:46.379 they had so many specific One of the biggest 00:05:46.379 --> 00:05:49.740 ones being slow motion. They use slow motion 00:05:49.740 --> 00:05:54.000 a lot. And one of the most mind -catching things 00:05:54.000 --> 00:06:02.379 is the bending of the world around them. One 00:06:02.379 --> 00:06:07.379 of the first things we see once the girl, I can't 00:06:07.379 --> 00:06:09.620 remember her name, but she's in an interview 00:06:09.620 --> 00:06:13.829 with Dom. Once she finds out that she's in the 00:06:13.829 --> 00:06:17.350 dream world, everything starts exploding and 00:06:17.350 --> 00:06:21.050 she learns that she has control and the whole 00:06:21.050 --> 00:06:24.069 world starts to flip onto itself. I think it's 00:06:24.069 --> 00:06:27.790 a classic trailer scene with that, too. But that 00:06:27.790 --> 00:06:31.870 is just a demonstration of power in a way of 00:06:31.870 --> 00:06:36.069 all the possibilities that you have in a dream. 00:06:36.689 --> 00:06:41.470 Yeah. And it's just so cool. Did you know that 00:06:41.470 --> 00:06:45.970 the cafe scene, all of those explosions were 00:06:45.970 --> 00:06:53.329 practical? Really? No CGI, just practical, practical 00:06:53.329 --> 00:06:59.810 pyrotechnics and composition and compositing. 00:06:59.870 --> 00:07:05.470 It's just like. That's so cool. So I imagine 00:07:05.470 --> 00:07:07.750 they must have had like a slow motion camera 00:07:07.750 --> 00:07:11.069 and just. Little explosions. To blow the stuff 00:07:11.069 --> 00:07:14.370 up in the air. That's how it looks so real too. 00:07:15.009 --> 00:07:20.389 When it comes to CGI. Our brains. I feel like 00:07:20.389 --> 00:07:22.050 there's always a part of our brains. That can 00:07:22.050 --> 00:07:26.170 detect it. And so. When there's something that 00:07:26.170 --> 00:07:30.709 should be CGI. But. It ends up being practical 00:07:30.709 --> 00:07:35.790 effects. That's just mind blowing. To me. I think 00:07:35.790 --> 00:07:41.139 Chris Nolan is. a master of graphical effects 00:07:41.139 --> 00:07:48.139 enhanced by computer graphics. And just a knowledge 00:07:48.139 --> 00:07:55.300 of how the world actually is going to the painstaking 00:07:55.300 --> 00:08:02.600 ends he went to to render the black hole in Interstellar. 00:08:04.180 --> 00:08:07.970 And it's like that's... as accurate as you're 00:08:07.970 --> 00:08:13.449 ever going to get in a movie. What do you think 00:08:13.449 --> 00:08:18.069 of the pacing and stuff like that? And I guess 00:08:18.069 --> 00:08:22.029 just the rhythm of the visuals, if that makes 00:08:22.029 --> 00:08:28.269 sense. So with the pacing, I felt like the movement 00:08:28.269 --> 00:08:33.690 of the movie was just a classic, just a slow, 00:08:33.690 --> 00:08:37.919 inclined buildup. There are some movies that 00:08:37.919 --> 00:08:40.679 are a rollercoaster of emotion. But this one, 00:08:40.779 --> 00:08:44.200 they're slowly revealing information. Things 00:08:44.200 --> 00:08:47.320 are slowly getting more intense. And you can 00:08:47.320 --> 00:08:50.580 sure feel it there at the end when things are 00:08:50.580 --> 00:08:57.019 going crazy. It is just like... And the music, 00:08:57.100 --> 00:08:59.919 the visuals, they're at the coolest setting. 00:09:00.720 --> 00:09:06.750 It is just a build -up pace. That's what I think. 00:09:06.909 --> 00:09:12.490 One of the topics I wanted to talk about is how 00:09:12.490 --> 00:09:17.289 Inception is like... It is a filmmaker's movie. 00:09:18.769 --> 00:09:25.169 And a storyteller's movie. That pace reminds 00:09:25.169 --> 00:09:31.710 me of the whole process. Like it's very slow 00:09:31.710 --> 00:09:33.970 and methodical at the start. You're planning, 00:09:34.169 --> 00:09:37.269 you're pre -production. And then you get into 00:09:37.269 --> 00:09:41.610 production and crap happens. Problems start happening. 00:09:42.610 --> 00:09:45.570 And it's just this mad rush to the finish line. 00:09:49.350 --> 00:09:53.789 It's true. So I like what you said about things 00:09:53.789 --> 00:09:55.850 just don't go perfectly. You know, like in the 00:09:55.850 --> 00:10:00.559 movie, they have a plan. Things are going good, 00:10:00.720 --> 00:10:04.659 but then something bad happens. Something does 00:10:04.659 --> 00:10:08.659 not go according to plan, and they have to pivot. 00:10:08.840 --> 00:10:10.919 They have to pivot, and something else bad happens. 00:10:11.039 --> 00:10:14.019 And just like the process of real -life filmmaking, 00:10:14.480 --> 00:10:20.360 that definitely happens. In my life, I've worked 00:10:20.360 --> 00:10:25.080 on some short films with friends, and boy, were 00:10:25.080 --> 00:10:27.889 there times when there were... The most unexpected 00:10:27.889 --> 00:10:30.789 problems come up. We were working on the final 00:10:30.789 --> 00:10:36.169 episode of a series called Agency. And we were 00:10:36.169 --> 00:10:39.509 very much on a time crunch. And my friend locked 00:10:39.509 --> 00:10:42.909 his keys in the car. We were losing daylight. 00:10:43.409 --> 00:10:46.710 And it was just the most unexpected thing. We 00:10:46.710 --> 00:10:49.950 were not expecting that to happen. But you have 00:10:49.950 --> 00:10:52.450 to pivot. And I feel like the movie reflects 00:10:52.450 --> 00:10:58.710 that very well. Yeah. Well, we kind of talked 00:10:58.710 --> 00:11:07.210 about action. But, with action, it is fascinating 00:11:07.210 --> 00:11:13.429 to me about Christopher Nolan's restraint. Because, 00:11:13.769 --> 00:11:20.409 like, of the 10 or 11 films that he's done, it's 00:11:20.409 --> 00:11:27.629 only,

like, the Batman movies. Dunkirk Inception 00:11:27.629 --> 00:11:33.610 that rely on action. I guess probably Memento. 00:11:33.669 --> 00:11:39.129 Haven't seen that yet. But he's so talented at 00:11:39.129 --> 00:11:43.490 it yet he doesn't lean on it like a crutch like, 00:11:43.610 --> 00:11:54.580 say, Michael Bay. The music. What are your thoughts 00:11:54.580 --> 00:12:00.399 there? So I think the music works with the pacing 00:12:00.399 --> 00:12:04.879 of the movie really well as well. There are many 00:12:04.879 --> 00:12:09.539 aspects of the movie that get much more darker 00:12:09.539 --> 00:12:13.039 and spookier, especially once you start getting 00:12:13.039 --> 00:12:17.960 into Dom's flashbacks with his ex. Well, I guess 00:12:17.960 --> 00:12:21.919 not ex, she died, so his deceased wife. And there 00:12:21.919 --> 00:12:24.980 are scenes that, Like, remind me of a horror 00:12:24.980 --> 00:12:27.840 film. Like, the music in the background. When 00:12:27.840 --> 00:12:40.720 she, when Maul sees Ariadne. She is straight 00:12:40.720 --> 00:12:46.000 up, like, a horror villain. Like, just the way 00:12:46.000 --> 00:12:49.279 she... They position her, the way that she moves, 00:12:49.519 --> 00:12:53.460 the change in the music or the sound even when 00:12:53.460 --> 00:12:56.039 she turns around and there's that boom or that 00:12:56.039 --> 00:13:01.120 sound. It is like she totally plays a villain 00:13:01.120 --> 00:13:04.500 role like a horror movie. And it's so cool. And 00:13:04.500 --> 00:13:08.259 I love it because it's so unique that she's not 00:13:08.259 --> 00:13:12.000 even alive. She's just memory, but she legit 00:13:12.000 --> 00:13:15.620 causes problems to the whole movie. And it is. 00:13:16.559 --> 00:13:23.000 is brilliant yeah it's also fun that she's called 00:13:23.000 --> 00:13:28.620 maul yep i have that in my notes every time they 00:13:28.620 --> 00:13:32.539 talk about her and they say like it's maul and 00:13:32.539 --> 00:13:37.659 i just can't think of like i'm just like i'm 00:13:37.659 --> 00:13:40.620 thinking of like the like the spanish word for 00:13:40.620 --> 00:13:43.820 evil and that kind of stuff oh yes that works 00:13:43.820 --> 00:13:48.310 too oh i went straight to star wars Speaking 00:13:48.310 --> 00:13:51.370 of Star Wars, it is interesting, bringing it 00:13:51.370 --> 00:13:56.389 back to the music, the differences in philosophy, 00:13:56.389 --> 00:13:59.769 I don't know if it's a difference in philosophy 00:13:59.769 --> 00:14:08.230 for Christopher Nolan or on Zimmer, but the way, 00:14:08.330 --> 00:14:13.570 the differences in the way they use music. Like 00:14:13.570 --> 00:14:16.360 George Lucas with Star Wars and John Williams 00:14:16.360 --> 00:14:24.240 they use the music as a character but Christopher 00:14:24.240 --> 00:14:29.940 Nolan and Hans Zimmer they use music more as 00:14:29.940 --> 00:14:35.039 a frame device like it goes really well with 00:14:35.039

--> 00:14:41.379 what is happening in the film more so than what 00:14:41.379 --> 00:14:43.679 characters on the screen, what their intentions 00:14:43.679 --> 00:14:49.379 are. It's more plot -based music. Yeah, I think 00:14:49.379 --> 00:14:53.879 it's... I guess you could say it's like an audience 00:14:53.879 --> 00:14:59.279 vehicle. Oh, yeah. And, like, the music, when 00:14:59.279 --> 00:15:01.580 it's most apparent, or at least when I was thinking 00:15:01.580 --> 00:15:04.940 about the music the most, was at the end, when, 00:15:05.019 --> 00:15:09.779 like, the van is falling and such. The music, 00:15:09.779 --> 00:15:13.840 I almost felt like it was looping in a way, which 00:15:13.840 --> 00:15:18.580 I think is done on purpose because like it's 00:15:18.580 --> 00:15:20.559 supposed to keep you just on the edge of like 00:15:20.559 --> 00:15:24.879 when music doesn't loop, it has an end. And, 00:15:24.940 --> 00:15:26.600 you know, OK, that's what we're supposed to feel. 00:15:26.779 --> 00:15:30.940 But the dramatic nature of the music was in a 00:15:30.940 --> 00:15:35.100 loop like fashion that was always keeping you. 00:15:35.809 --> 00:15:38.570 wondering are they going to get out are they 00:15:38.570 --> 00:15:41.330 going to successfully get kicked out of a dream 00:15:41.330 --> 00:15:47.610 and and yeah it was it was it was very much just 00:15:47.610 --> 00:15:52.710 keeping on the edge well Christopher Nolan has 00:15:52.710 --> 00:15:56.470 faced a lot of criticism by how he handles exposition 00:15:56.470 --> 00:16:02.149 I don't get the criticism I really don't like 00:16:02.149 --> 00:16:07.019 the entire The first half of the movie is exposition 00:16:07.019 --> 00:16:12.340 and planning and, like, these story meetings. 00:16:13.799 --> 00:16:20.259 And it's so engaging. And things like this, when 00:16:20.259 --> 00:16:24.039 someone, when you trust the audience enough to 00:16:24.039 --> 00:16:29.559 just drop them in a scene, which could be a thematic 00:16:29.559 --> 00:16:34.179 thing about, um, like... they were talking about 00:16:34.179 --> 00:16:36.279 in the cafe. Like, you don't remember the start 00:16:36.279 --> 00:16:43.899 of the dream. You're only placed where the important 00:16:43.899 --> 00:16:48.200 stuff happens and the fun stuff happens. And 00:16:48.200 --> 00:16:52.940 that's what happens in a movie. Like, there's 00:16:52.940 --> 00:16:56.620 transitional scenes, but for the most part, you're 00:16:56.620 --> 00:17:01.279 just dropped in. Yeah, go ahead. What I found 00:17:01.279 --> 00:17:06.299 so cool, and I recognize this. So Dom references 00:17:06.299 --> 00:17:07.819 that. He's like, you don't remember the beginning 00:17:07.819 --> 00:17:10.220 of the dream. You're always dropped in. And they 00:17:10.220 --> 00:17:13.119 kept true to that throughout the whole film. 00:17:13.559 --> 00:17:16.779 When you were in a dream sequence, you were thrown 00:17:16.779 --> 00:17:20.440 in the

middle. I kept on noticing that when they 00:17:20.440 --> 00:17:24.059 got even deeper and deeper in the gentleman's 00:17:24.059 --> 00:17:27.099 dream that they were trying to perform Inception 00:17:27.099 --> 00:17:30.500 on cameras. Now I want you to like Georgia. Fisher, 00:17:30.599 --> 00:17:34.740 that's it. Yeah, like, especially in the level 00:17:34.740 --> 00:17:37.920 three of Fisher's dream, you just are plopped 00:17:37.920 --> 00:17:41.920 in the middle of a snow place. And I love that 00:17:41.920 --> 00:17:44.519 they, throughout the film, they kept that as 00:17:44.519 --> 00:17:48.119 a common theme. And it made you feel like you 00:17:48.119 --> 00:17:50.079 were in a dream. But at the same time, it feels 00:17:50.079 --> 00:17:58.400 so real. The crazy thing, they had 10 years of 00:17:58.400 --> 00:18:02.920 time. in the third level, so you don't know how 00:18:02.920 --> 00:18:10.740 long they spent. I didn't even think about that. 00:18:11.000 --> 00:18:15.839 Well, I mean, I guess Sidon's dying, so I guess 00:18:15.839 --> 00:18:21.380 it couldn't have been that long. Yeah, that's 00:18:21.380 --> 00:18:24.240 a good point, because he was dying in the previous 00:18:24.240 --> 00:18:26.420 stream, but you're right, his time does move 00:18:26.420 --> 00:18:28.200 much slower when you're progressing into the 00:18:28.200 --> 00:18:31.039 next. phases of the dreams or even you're going 00:18:31.039 --> 00:18:36.660 deeper into dream yeah um which led me to questions 00:18:36.660 --> 00:18:43.240 um like exactly how does that how does the limbo 00:18:43.240 --> 00:18:46.660 work you know like because if you die because 00:18:46.660 --> 00:18:54.299 they see died but more about um he was able to 00:18:54.299 --> 00:18:59.220 get the guy out um Let's see, Dom was able to 00:18:59.220 --> 00:19:03.079 get the guy out who died out of limbo, but the 00:19:03.079 --> 00:19:05.700 guy was really old at the end, so he was in limbo 00:19:05.700 --> 00:19:10.440 for a long time. And so, yeah, I guess that whole 00:19:10.440 --> 00:19:13.460 pacing just still makes me scratch my head. Like, 00:19:13.460 --> 00:19:15.000 next time I watch it, I'm like, what is going 00:19:15.000 --> 00:19:17.039 on there? Did you have any additional insight 00:19:17.039 --> 00:19:20.339 of, like, the structure and how that was working? 00:19:22.220 --> 00:19:27.539 Well, I think... I think the camera's lying to 00:19:27.539 --> 00:19:35.539 us. Hmm. In the end, I don't think Don was a 00:19:35.539 --> 00:19:38.980 young man. I think he was just as old as Saito 00:19:38.980 --> 00:19:45.700 when he finally found him. Oh, I see. But, because, 00:19:45.920 --> 00:19:51.819 like, they have that old mantra of, like, Yuri 00:19:51.819 --> 00:19:57.599 from a half -remembered dream. We were young 00:19:57.599 --> 00:20:02.920 men then, but now we're old men. Builder of regret. 00:20:03.440 --> 00:20:12.220 Waiting to die alone. The writing there is so... 00:20:12.220 --> 00:20:17.680 Chef's kiss. You could tell Christopher Nolan 00:20:17.680 --> 00:20:23.630 was working on this for seven years. And that 00:20:23.630 --> 00:20:27.329 leads me to something, another thing I noticed 00:20:27.329 --> 00:20:33.069 about the movie. I realized that movie is a, 00:20:33.170 --> 00:20:34.650 I'll have to make sure I'm saying this right, 00:20:34.750 --> 00:20:37.190 a chiasmus. Have you heard of that before? Yeah. 00:20:38.710 --> 00:20:41.690 So where you start off in the beginning of the 00:20:41.690 --> 00:20:47.910 same theme and then you basically. The whole 00:20:47.910 --> 00:20:50.869 thing goes, if you were to label storyboards 00:20:50.869 --> 00:20:57.450 with letters, it'd be like A, B, C, D, C, B, 00:20:57.630 --> 00:21:02.069 A. And each letter reflecting itself. So I kept 00:21:02.069 --> 00:21:05.150 on noticing common themes. And the most noticeable 00:21:05.150 --> 00:21:11.029 one is A, which is it begins in that limbo state. 00:21:11.269 --> 00:21:15.569 And then it ends in that same spot too. And it 00:21:15.569 --> 00:21:23.269 just is a beautiful circle in story. So, of course, 00:21:23.269 --> 00:21:25.990 you've probably heard about the theories that 00:21:25.990 --> 00:21:32.529 the entire movie was a dream. I think I've heard 00:21:32.529 --> 00:21:33.950 that maybe a while ago, but I haven't thought 00:21:33.950 --> 00:21:38.210 about that recently. Which makes sense, doesn't 00:21:38.210 --> 00:21:42.390 it? In a little bit. With just the way the story 00:21:42.390 --> 00:21:47.029 is structured. Because you're dropped right in 00:21:47.029 --> 00:21:50.430 the middle of scenes. You're dropped right in 00:21:50.430 --> 00:21:55.950 the action. And he always has the totem on him. 00:21:57.009 --> 00:22:02.829 And he just periodically spins that thing. But 00:22:02.829 --> 00:22:07.069 there is a clue to show when he's in the dream 00:22:07.069 --> 00:22:10.390 and when he's not. Because remember, the top 00:22:10.390 --> 00:22:15.200 wasn't his totem. You know what his totem was? 00:22:18.819 --> 00:22:25.700 His totem was his wedding ring. Oh. He has the 00:22:25.700 --> 00:22:30.839 ring on whenever he's in the dream. But when 00:22:30.839 --> 00:22:37.000 he's not, there isn't a ring. Yeah, I never noticed 00:22:37.000 --> 00:22:43.680 that. Yeah, so it's a whole misdirection. Blown 00:22:43.680 --> 00:22:52.420 my own mind. The totem, her totem, we think is 00:22:52.420 --> 00:22:55.779 him figuring, trying to figure out what is reality. 00:22:57.059 --> 00:23:03.380 But really, the spinning top is his reminder 00:23:03.380 --> 00:23:09.279 of her, his guilt. Because starting the top spinning 00:23:09.279 --> 00:23:13.809 was the thing that he inceptive was the idea 00:23:13.809 --> 00:23:19.509 that he accepted in her. That makes sense. And 00:23:19.509 --> 00:23:22.650 when he starts to top spinning and goes to his 00:23:22.650 --> 00:23:29.250 kids, that's him finally

letting go. But we're 00:23:29.250 --> 00:23:32.130 so conditioned, but we're so conditioned from 00:23:32.130 --> 00:23:37.009 the whole logic of the movie to think, oh, are 00:23:37.009 --> 00:23:38.730 we going to see if it's going to topple over 00:23:38.730 --> 00:23:42.109 if it's actually real life? But it won't, it 00:23:42.109 --> 00:23:51.369 doesn't even matter. That's awesome. I love what 00:23:51.369 --> 00:23:58.569 you said. Yeah, I like it. Because that top represents, 00:23:58.869 --> 00:24:02.269 in a way, it's like a metaphor of him still holding 00:24:02.269 --> 00:24:09.369 on to Maul. A lot of the time, I feel like near 00:24:09.369 --> 00:24:13.049 the end of his dream sequences, whoever he's 00:24:13.049 --> 00:24:17.509 with, whoever's dream he's in, he starts seeing 00:24:17.509 --> 00:24:21.529 references to Maul. And then when he finally 00:24:21.529 --> 00:24:24.750 gets out, he immediately tests reality with Maul's 00:24:24.750 --> 00:24:31.470 totem. And it not only shows that he's trying 00:24:31.470 --> 00:24:33.109 to figure out, like, okay, I'm in the reality, 00:24:33.890 --> 00:24:37.579 this is my reality, but also... He's still deep 00:24:37.579 --> 00:24:40.579 down holding on because he has returned him. 00:24:42.039 --> 00:24:48.220 Yeah, that's interesting. That's so cool. Who 00:24:48.220 --> 00:24:56.160 else? Did you know? Have you seen pictures of 00:24:56.160 --> 00:25:02.160 Christopher Nolan? When you mentioned it, I looked 00:25:02.160 --> 00:25:06.519 up a picture of him. I could see that he does 00:25:06.519 --> 00:25:10.220 look a little bit like him. I can see where you're 00:25:10.220 --> 00:25:15.920 coming from with that. And I'm wondering if that 00:25:15.920 --> 00:25:21.779 is a parallel to the story of Inception pairing 00:25:21.779 --> 00:25:26.599 with filmmaking in itself. That's kind of what 00:25:26.599 --> 00:25:30.960 I connected it to. Or there could be some... 00:25:30.960 --> 00:25:34.369 I didn't do any history on... Christopher Nolan's 00:25:34.369 --> 00:25:37.869 life, but there could be some regret in his life 00:25:37.869 --> 00:25:43.269 that could connect with that character. I see. 00:25:43.349 --> 00:25:47.230 It is just about his career in filmmaking and 00:25:47.230 --> 00:25:54.109 the obsession we all feel. Yes. It is an obsession. 00:25:55.150 --> 00:25:59.869 I think one of my favorite things that Steven 00:25:59.869 --> 00:26:06.500 Spielberg ever said. He said that... Hold up. 00:26:06.539 --> 00:26:16.619 Sorry. He said that filmmaking is an addiction 00:26:16.619 --> 00:26:23.779 and celluloid is like heroin. And it's just like, 00:26:23.880 --> 00:26:28.660 you know, you gotta get your fix every two, three 00:26:28.660 --> 00:26:37.049 years. But... I heard it said, like, that this 00:26:37.049 --> 00:26:42.210 movie was kind of an apology. Hmm. And, like, 00:26:42.349 --> 00:26:52.009 Saito's the producer. Cobb's the director. And 00:26:52.009 --> 00:26:54.849 they don't want to be old men filled with regret. 00:26:56.289 --> 00:27:00.150 Interesting. And sometimes the stories we tell 00:27:00.150 --> 00:27:08.390 ourselves... can be so engrossing and so obsessive 00:27:08.390 --> 00:27:14.390 that we just lose sight of everything else. It 00:27:14.390 --> 00:27:20.049 was always one last job to get back to his kids. 00:27:22.289 --> 00:27:28.170 And that pattern just kept repeating. And I think 00:27:28.170 --> 00:27:33.200 that's... That's what can happen in a long film 00:27:33.200 --> 00:27:40.079 career. It's true. Yeah, I didn't think about 00:27:40.079 --> 00:27:44.819 that, but I 100 % think you're right. That was 00:27:44.819 --> 00:27:47.839 a common theme. That was Dom's goal the whole 00:27:47.839 --> 00:27:50.339 time was to get back home, see his children. 00:27:50.799 --> 00:27:54.819 But he was always working so he could do that. 00:27:55.319 --> 00:28:00.210 And to his children's perspective. daddy's gone 00:28:00.210 --> 00:28:03.789 daddy's working and i could totally see how that's 00:28:03.789 --> 00:28:07.089 symbolic to real life because there's there's 00:28:07.089 --> 00:28:09.609 lots of there's lots of people who are working 00:28:09.609 --> 00:28:11.930 who are away from their families wishing they 00:28:11.930 --> 00:28:14.269 could be back and especially with filmmaking 00:28:14.269 --> 00:28:17.730 you have to be gone from home for long periods 00:28:17.730 --> 00:28:22.390 of the time working on projects jobs to get you 00:28:22.390 --> 00:28:25.190 that break but like you mentioned it's a it can 00:28:25.190 --> 00:28:27.549 be an addiction and so you just find yourself 00:28:28.279 --> 00:28:30.920 falling back to it because it's a passion an 00:28:30.920 --> 00:28:42.200 obsession it is it is like Dom says when he first 00:28:42.200 --> 00:28:47.440 goes to Paris like there aren't many legitimate 00:28:47.440 --> 00:28:51.559 ways to use his skills and it's kind of like 00:28:51.559 --> 00:28:56.119 that with filmmaking like we have such a unique 00:28:56.119 --> 00:29:03.690 skill set That it's just like What else can you 00:29:03.690 --> 00:29:10.329 do with it It's true very true With that theme 00:29:10.329 --> 00:29:12.890 of storytelling and filmmaking. What do you think 00:29:12.890 --> 00:29:17.069 about? Fisher as a character and as an audience 00:29:17.069 --> 00:29:26.470 surrogate Mmm is he's very much he's he's someone 00:29:26.470 --> 00:29:29.470 who he's he's in a vulnerable state like throughout 00:29:29.470 --> 00:29:33.670 the movie he's the one being targeted uh he's 00:29:33.670 --> 00:29:35.529 the one with the inceptions being put on him 00:29:35.529 --> 00:29:39.329 and he doesn't even realize as far as we know 00:29:39.329 --> 00:29:44.529 um and in a way that could even be symbolic to 00:29:44.529 --> 00:29:49.569 uh like how the the way that media has a subconscious 00:29:49.569 --> 00:29:55.410 influence on us and I hadn't

really thought about 00:29:55.410 --> 00:29:57.690 that until now, but it's interesting because 00:29:57.690 --> 00:30:04.869 he's the victim of the story. And there's nothing 00:30:04.869 --> 00:30:08.769 that he's done wrong. In a way, the main characters 00:30:08.769 --> 00:30:13.390 are, in a moral sense, the villains, you know, 00:30:13.390 --> 00:30:15.329 because they're stealing information, they're 00:30:15.329 --> 00:30:21.250 altering people's minds. This guy, Fisher, he's 00:30:21.250 --> 00:30:24.319 the heir of a company. And his father's dying. 00:30:24.940 --> 00:30:28.940 And he's being taken advantage of by these people 00:30:28.940 --> 00:30:34.279 who have other motives and desires. And in a 00:30:34.279 --> 00:30:41.240 film industry, all of us as an audience, we are, 00:30:41.259 --> 00:30:45.960 in a way, we are used for our money to watch 00:30:45.960 --> 00:30:50.960 the content that they make. As an audience, we 00:30:50.960 --> 00:30:55.269 are at their... we're at their mercy of that 00:30:55.269 --> 00:30:58.589 they want what we have our money in a way but 00:30:58.589 --> 00:31:00.650 but you know that there's a balance now because 00:31:00.650 --> 00:31:03.049 now it's it's not all about the money it's also 00:31:03.049 --> 00:31:06.910 there's passion projects with film well i think 00:31:06.910 --> 00:31:11.529 i think you can still have i think a storyteller 00:31:11.529 --> 00:31:19.690 can still have goals for the audience like in 00:31:19.690 --> 00:31:27.660 those story meetings uh They're basically psychoanalyzing 00:31:27.660 --> 00:31:32.319 Fisher. What is the goal of the story that we're 00:31:32.319 --> 00:31:36.500 creating for Fisher in these dreams? What do 00:31:36.500 --> 00:31:40.319 we need to get him to feel? And I think that 00:31:40.319 --> 00:31:47.259 can be a positive thing. It's like in message 00:31:47.259 --> 00:31:52.640 movies and that kind of stuff. I don't know. 00:31:53.299 --> 00:31:55.319 I thought I had a better idea for that, but I 00:31:55.319 --> 00:31:58.960 guess not. Well, there was a thought I had from 00:31:58.960 --> 00:32:02.200 what you just said. I did like in the film, one 00:32:02.200 --> 00:32:05.960 of the characters referenced the idea of influencing 00:32:05.960 --> 00:32:09.900 Fisher by planting a negative memory in his mind. 00:32:09.940 --> 00:32:12.720 Like, I think they mentioned like, I got a crap 00:32:12.720 --> 00:32:14.880 on you, dad. I'm going to split the company kind 00:32:14.880 --> 00:32:20.099 of thing. But Dom, he said there is more positive. 00:32:21.379 --> 00:32:24.539 There's more power in a positive idea, a positive 00:32:24.539 --> 00:32:28.920 mindset. And so they turned it into a positive 00:32:28.920 --> 00:32:32.220 thing. They made it a sad story where they're 00:32:32.220 --> 00:32:37.180 showing him in a stream that his uncle, I want 00:32:37.180 --> 00:32:40.160 to say Uncle Ben for some reason. Uncle Peter, 00:32:40.380 --> 00:32:43.660 yes. Which is also pretty funny because it's 00:32:43.660 --> 00:32:46.960 like the flip -flop there. Yeah, Peter and Ben, 00:32:47.000 --> 00:32:51.549 yes. That he was... selling him out because he 00:32:51.549 --> 00:32:56.230 was wanting information and but then uh he's 00:32:56.230 --> 00:32:59.009 this this fisher character is haunted by his 00:32:59.009 --> 00:33:00.769 father's last words saying he was disappointed 00:33:00.769 --> 00:33:06.690 but they used that and rolled with it and made 00:33:06.690 --> 00:33:09.309 his father tell him that he's disappointed that 00:33:09.309 --> 00:33:12.730 he tried to be like him and he wasn't being his 00:33:12.730 --> 00:33:17.089 own man and and i think there's just a lot of 00:33:17.089 --> 00:33:23.549 inspiration behind that Without them meddling, 00:33:23.670 --> 00:33:29.390 I guess, he probably never would have had that 00:33:29.390 --> 00:33:35.490 notion, that idea that, hey, maybe my dad wasn't 00:33:35.490 --> 00:33:38.650 such a dick at the end, and maybe he actually 00:33:38.650 --> 00:33:43.829 did care. That catharsis. That's another thing 00:33:43.829 --> 00:33:47.630 I want to talk about, is catharsis. And, like, 00:33:47.650 --> 00:33:52.339 that's... the crowning achievement of the concept 00:33:52.339 --> 00:33:57.960 of Inception is that idea comes from that catharsis. 00:33:58.640 --> 00:34:04.200 I think that's important in storytelling, and 00:34:04.200 --> 00:34:08.780 I think it's important that we experience that, 00:34:08.900 --> 00:34:16.380 and that's why movies exist. Any final thoughts? 00:34:18.980 --> 00:34:21.420 Well, you know, on the idea of catharsis, you 00:34:21.420 --> 00:34:27.780 know, releasing built up emotion is a huge aspect 00:34:27.780 --> 00:34:31.780 of our lives. And just like you mentioned, movies 00:34:31.780 --> 00:34:35.239 can let us do that. They put us in the stories 00:34:35.239 --> 00:34:38.840 of other people's shoes or shoes of other people's 00:34:38.840 --> 00:34:41.960 stories that go out of the way. And when we experience 00:34:41.960 --> 00:34:45.059 those things through film, it gives a sense of 00:34:45.059 --> 00:34:51.320 empathy. And a sense of just wonder and excitement 00:34:51.320 --> 00:34:54.179 allows us to release inner emotion that could 00:34:54.179 --> 00:34:59.000 be built up. And that was the dream goal in Inception 00:34:59.000 --> 00:35:02.039 was they were planting these ideas, helping him 00:35:02.039 --> 00:35:06.059 get things off his chest, which in turn leads 00:35:06.059 --> 00:35:10.099 him to make the final decision to split the company. 00:35:11.219 --> 00:35:16.170 And much like dreams. coming up with your own 00:35:16.170 --> 00:35:19.730 ideas, a film can have that incredible effect 00:35:19.730 --> 00:35:24.389 on us as well. And it can just be life -altering, 00:35:24.530 --> 00:35:29.710 just like an idea. Yeah. I completely second 00:35:29.710 --> 00:35:35.650 what you said. The

biggest thing I can say is 00:35:35.650 --> 00:35:39.090 never be afraid to dream a little bigger, darling. 00:35:40.150 --> 00:35:48.449 Yes. Always had a bazooka thing. Yeah. Tom Hardy, 00:35:48.610 --> 00:35:53.969 man. What a dude. I couldn't help but think of 00:35:53.969 --> 00:35:57.809 Venom the whole time I'd see him. Or technically 00:35:57.809 --> 00:36:06.369 Dark Knight Rises as well. But yeah, actually, 00:36:06.469 --> 00:36:13.130 for legit though, I forgot just how much I love 00:36:13.130 --> 00:36:16.570 this movie. Until I just recently watched it. 00:36:16.630 --> 00:36:22.590 And that's been my experience this entire podcast. 00:36:24.750 --> 00:36:27.349 Of just re -watching these movies that mean so 00:36:27.349 --> 00:36:30.369 much to me and rediscovering why they mean so 00:36:30.369 --> 00:36:35.610 much to me. And there is a reason that Inception 00:36:35.610 --> 00:36:38.750 is number three behind Interstellar and It's 00:36:38.750 --> 00:36:46.590 a Wonderful Life. A lot of I's. Yeah, it's... 00:36:46.590 --> 00:36:52.130 It speaks to me as a storyteller. And just a 00:36:52.130 --> 00:36:59.449 guy that loves movies. But... Watch it as many 00:36:59.449 --> 00:37:03.250 times as you can because it is so good. It is. 00:37:03.889 --> 00:37:07.849 But... Oh, yeah, go ahead. I was just gonna say, 00:37:07.929 --> 00:37:12.360 I am just so impressed with the story. And just 00:37:12.360 --> 00:37:17.519 like you said, it reminds me of just how deep 00:37:17.519 --> 00:37:21.500 a story can go. You know, like he worked on this 00:37:21.500 --> 00:37:24.900 for seven years and it's just incredible what 00:37:24.900 --> 00:37:29.239 you can come up with. And an audience perspective, 00:37:29.500 --> 00:37:31.139 you watch it, you're like, oh, wow, I can never 00:37:31.139 --> 00:37:34.139 come up with that. But in reality, the person 00:37:34.139 --> 00:37:38.219 who made it, Christopher Nolan, is a human just 00:37:38.219 --> 00:37:43.039 like us. All storytellers, everyone is capable 00:37:43.039 --> 00:37:45.980 of such thought. We just have to set our minds 00:37:45.980 --> 00:37:49.000 to it. We have to dream a little. Dream a little 00:37:49.000 --> 00:37:54.019 bit. I do actually find it interesting when you're 00:37:54.019 --> 00:38:00.599 talking about the chiasmus of it. That's basically 00:38:00.599 --> 00:38:07.019 the layering of the dreams. Like, it's dream 00:38:07.019 --> 00:38:11.699 A. And then they go to layer B, layer C, layer 00:38:11.699 --> 00:38:16.639 D. And then the audience with the rest of them 00:38:16.639 --> 00:38:22.219 ride the kicks back up. In a way, there's chiasmus 00:38:22.219 --> 00:38:27.260 within the chiasmus of the film. Chiasmus -ception. 00:38:28.079 --> 00:38:32.659 Yes. Goodness, this movie just blows your mind. 00:38:33.099 --> 00:38:38.840 I know. That's why I love it so much. It's all 00:38:38.840 --> 00:38:45.880 the emotion that goes through my brain when Dom 00:38:45.880 --> 00:38:55.000 finally completely opens up about mall and when 00:38:55.000 --> 00:38:58.039 she dies is just like that that whole scene just 00:38:58.039 --> 00:39:10.000 Leonardo DiCaprio eat chewing scenery there just 00:39:10.000 --> 00:39:16.599 incredibly well acted on both sides oh i was 00:39:16.599 --> 00:39:20.820 locked in yeah yeah and uh and one one interesting 00:39:20.820 --> 00:39:23.760 um theme i wanted to mention or get your thoughts 00:39:23.760 --> 00:39:30.360 on was the build -up to that scene in in the 00:39:30.360 --> 00:39:33.480 very beginning before you knew what was going 00:39:33.480 --> 00:39:37.980 to happen the the girl who's the new engineer 00:39:37.980 --> 00:39:41.559 for the dreams she is trying to dig a little 00:39:41.559 --> 00:39:46.239 deeper asking him questions about her and she 00:39:46.239 --> 00:39:51.519 eventually goes into the basement and he dom 00:39:51.519 --> 00:39:55.800 is acting almost in a way like he killed her 00:39:55.800 --> 00:39:58.159 like that's kind of what was going back my mind 00:39:58.159 --> 00:40:00.679 i'm like he's he's kind of keeping it hidden 00:40:00.679 --> 00:40:02.820 like like he murdered her like that's the big 00:40:02.820 --> 00:40:06.019 secret kind of thing and Even telling her she 00:40:06.019 --> 00:40:07.559 wants to go in the basement. He stops her. He's 00:40:07.559 --> 00:40:09.900 like, don't go in the basement. You know, that's 00:40:09.900 --> 00:40:13.820 total serial killer vibes kind of thing. Don't 00:40:13.820 --> 00:40:16.619 go in the basement. My important things are in 00:40:16.619 --> 00:40:21.039 the basement. Exactly. And so she ends up going 00:40:21.039 --> 00:40:23.460 down to the basement. And there's this wrecked 00:40:23.460 --> 00:40:26.500 apartment and still giving killer vibes. And 00:40:26.500 --> 00:40:29.480 she's there. And we learn the truth that she 00:40:29.480 --> 00:40:32.650 was not killed. It was a suicide. The United 00:40:32.650 --> 00:40:36.369 States thinks it was a murder because of her 00:40:36.369 --> 00:40:38.809 sending out those letters or whatever, saying 00:40:38.809 --> 00:40:42.210 she fears her safety, all that stuff. So just 00:40:42.210 --> 00:40:46.389 that buildup where the audience, a .k .a. me 00:40:46.389 --> 00:40:49.170 as I was watching it, was like, oh, it's almost 00:40:49.170 --> 00:40:52.889 like he killed her. that's actually a part of 00:40:52.889 --> 00:40:55.510 the story. The United States thinks he killed 00:40:55.510 --> 00:40:57.969 her. So it's just such a beautiful, they're connecting 00:40:57.969 --> 00:41:00.429 what they're showing the audience with actual 00:41:00.429 --> 00:41:02.710 plot points, even though that's not actually 00:41:02.710 --> 00:41:07.050 what happened. So yeah. And then aside from that, 00:41:07.070 --> 00:41:11.349 kind of on a different note with it, just the 00:41:11.349 --> 00:41:15.530 villain vibes of Maul was just, was one of my

00:41:15.530 --> 00:41:18.969 favorite aspects of the movie. Like I just, that's 00:41:18.969 --> 00:41:20.750 what kept me up at night thinking about that. 00:41:20.809 --> 00:41:24.539 I'm like, She's the villain, but she's dead. 00:41:24.699 --> 00:41:29.800 It's literally his guilt and subconscious yet 00:41:29.800 --> 00:41:34.400 personified stopping them from their goals. What 00:41:34.400 --> 00:41:45.659 a brilliant idea. It is kind of interesting that 00:41:45.659 --> 00:41:51.519 his guilt is... preventing him from doing his 00:41:51.519 --> 00:41:57.679 job right. Like, she's almost simultaneously 00:41:57.679 --> 00:42:04.800 his guilt and his conscience. But... Anyway, 00:42:05.179 --> 00:42:09.420 what do you give it out of 10? I'd say it's a 00:42:09.420 --> 00:42:15.400 9 out of 10. What keeps it from 10? For me, what 00:42:15.400 --> 00:42:20.150 keeps it a 10 would be... I wish there were things 00:42:20.150 --> 00:42:28.769 that were explained just a little bit more. Do 00:42:28.769 --> 00:42:34.409 you think the end was too ambiguous? Well, something 00:42:34.409 --> 00:42:37.150 that just kept on annoying my mind as I was watching 00:42:37.150 --> 00:42:41.719 the movie was... They never touched on the science 00:42:41.719 --> 00:42:44.380 of exactly how it works. They have this machine. 00:42:44.460 --> 00:42:48.019 It looks like a suitcase. They stick an IV in 00:42:48.019 --> 00:42:50.760 themselves, and then movie magic happens. They 00:42:50.760 --> 00:42:53.519 all have connected dreams. I would have liked 00:42:53.519 --> 00:42:59.239 just a teaspoon of an explanation of how it worked, 00:42:59.320 --> 00:43:04.940 which it's okay, I guess. But then the other 00:43:04.940 --> 00:43:08.639 thing, too, was... it was hard to keep track 00:43:08.639 --> 00:43:14.199 of i felt like whose dream people were in and 00:43:14.199 --> 00:43:17.219 where they were jumping um there was even times 00:43:17.219 --> 00:43:19.860 characters were questioning that they're like 00:43:19.860 --> 00:43:21.980 all right let's go in the next step we're going 00:43:21.980 --> 00:43:25.659 over here and then the the girl who's the um 00:43:25.659 --> 00:43:31.400 imagineer i can never remember her name yes she 00:43:31.400 --> 00:43:35.070 she questioned she was like wait whose dream 00:43:35.070 --> 00:43:37.030 are we going in next and i'm sitting there with 00:43:37.030 --> 00:43:39.550 the same question and then he answers it but 00:43:39.550 --> 00:43:42.829 i kept and i kept asking that question over and 00:43:42.829 --> 00:43:45.849 over throughout the movie and it was in a way 00:43:45.849 --> 00:43:48.389 a little bit distracting for my own mind because 00:43:48.389 --> 00:43:50.889 i'm just someone who i want to keep up with exactly 00:43:50.889 --> 00:43:53.530 what's happening and so when there's events occurring 00:43:53.530 --> 00:43:57.329 action scenes and i still haven't had my initial 00:43:57.329 --> 00:43:59.809 question answered on whose dream we're actually 00:43:59.809 --> 00:44:04.429 in it's a little bit annoying but It does not 00:44:04.429 --> 00:44:08.250 affect me enough to go below a nine. Like, there 00:44:08.250 --> 00:44:12.710 are clues. And, like, at least with the question 00:44:12.710 --> 00:44:20.409 of the device. I mean... Yeah. Gotta have a little 00:44:20.409 --> 00:44:25.670 mystery. I wouldn't say that. But it's like, 00:44:25.730 --> 00:44:28.949 you gotta have a little bit of mystery. Yes, 00:44:28.949 --> 00:44:33.250 you would. It's like... The glowing suitcase 00:44:33.250 --> 00:44:39.730 in Pulp Fiction. You don't need to know the actual 00:44:39.730 --> 00:44:45.510 mechanics, but just that it works. But for me, 00:44:45.570 --> 00:44:53.429 though, I cannot not give it a 10. It is just 00:44:53.429 --> 00:45:02.039 too perfect for me. All right. Yeah. There is... 00:45:02.039 --> 00:45:04.880 Oh, go ahead. Oh, go ahead. I was going to say, 00:45:04.920 --> 00:45:10.420 there is another criticism I have as well. Okay. 00:45:10.840 --> 00:45:14.340 So, and this is kind of a plot point criticism, 00:45:14.460 --> 00:45:17.659 but I felt like they're making a big deal, and 00:45:17.659 --> 00:45:19.219 they made a big deal about this in the trailers 00:45:19.219 --> 00:45:22.019 too. They made a big deal about the things that 00:45:22.019 --> 00:45:25.820 you can do in a dream. They showed the world 00:45:25.820 --> 00:45:29.480 folding in on itself. They showed bridges. Building 00:45:29.480 --> 00:45:36.219 out of nothing. But. Outside from that. They 00:45:36.219 --> 00:45:40.000 didn't really use that. To get themselves out 00:45:40.000 --> 00:45:45.000 of problems. I felt like. I mean. They explained 00:45:45.000 --> 00:45:50.199 that. You can't really do. A whole bunch of crazy. 00:45:50.400 --> 00:45:58.570 God like stuff. Without the. Projections. Figuring 00:45:58.570 --> 00:46:02.630 out that it's a dream. Okay. And making it a 00:46:02.630 --> 00:46:07.070 whole lot harder on yourself. Okay. That's the 00:46:07.070 --> 00:46:10.010 explanation I needed. Because that was bothering 00:46:10.010 --> 00:46:12.489 me. But now I remember when she was building 00:46:12.489 --> 00:46:14.590 the bridge. And he's like, oh, you got to stop 00:46:14.590 --> 00:46:17.329 that. Projections are going to find out. So when 00:46:17.329 --> 00:46:19.929 they're on an actual mission, they're not doing 00:46:19.929 --> 00:46:26.440 that. So, yes, that makes sense. I do remember 00:46:26.440 --> 00:46:28.300 the quote we've been saying, where he's like, 00:46:28.400 --> 00:46:29.699 you gotta dream a little bigger, darling, and 00:46:29.699 --> 00:46:33.440 pulls out that thing. I wanted more of that stuff. 00:46:33.699 --> 00:46:37.300 He did it once. More room of requirements kind 00:46:37.300 --> 00:46:43.659 of stuff. Yeah. I guess that could be a fair 00:46:43.659 --> 00:46:48.480 criticism. But I do understand the plot point 00:46:48.480

--> 00:46:51.440 behind it, that they needed... It was like... 00:46:51.840 --> 00:46:54.199 It was a secretive mission. You know, they can't 00:46:54.199 --> 00:46:57.940 let the projections know that they were there. 00:46:58.719 --> 00:47:01.079 Especially Fisher's, because he had military 00:47:01.079 --> 00:47:05.059 -trained projections. For some reason, did he 00:47:05.059 --> 00:47:08.579 actually have some kind of dream protection thing, 00:47:08.619 --> 00:47:12.719 or was it just his personality? He had... You 00:47:12.719 --> 00:47:20.820 know, in this kind of world, there's... Extractionists 00:47:20.820 --> 00:47:26.539 are... known or known commodity and so he had 00:47:26.539 --> 00:47:34.000 professional training against extraction so his 00:47:34.000 --> 00:47:37.460 projections would be militaristic militarized 00:47:37.460 --> 00:47:43.460 because like his subconscious is a trained machine 00:47:43.460 --> 00:47:51.849 in that in that regard yeah um that's cool And 00:47:51.849 --> 00:47:56.550 that makes the plot a lot more intriguing and 00:47:56.550 --> 00:47:58.809 dangerous. And the fact they were still able 00:47:58.809 --> 00:48:05.989 to succeed. Oh, I have a question for you. So 00:48:05.989 --> 00:48:12.289 I know that Dom said the reason why he didn't 00:48:12.289 --> 00:48:18.480 tell everyone that if they die... under deep 00:48:18.480 --> 00:48:21.820 sedation in the dream they'll go into limbo so 00:48:21.820 --> 00:48:24.659 he didn't he didn't tell them that because they'd 00:48:24.659 --> 00:48:27.059 be like oh they think it's too dangerous or whatever 00:48:27.059 --> 00:48:31.719 but i i wonder i kind of look a little bit more 00:48:31.719 --> 00:48:37.860 into it i'm like is that the only reason um well 00:48:37.860 --> 00:48:40.139 kind of i guess i just wanted to get your thoughts 00:48:40.139 --> 00:48:45.670 on Dom's choice to not reveal that critical piece 00:48:45.670 --> 00:48:47.909 of information, where if you were to die, your 00:48:47.909 --> 00:48:50.409 mind goes into limbo while you're under sedation. 00:48:51.929 --> 00:48:55.849 Do you have any thoughts regarding that? Maybe 00:48:55.849 --> 00:49:03.630 it's just arrogance. Like Shirley with... They... 00:49:03.630 --> 00:49:08.880 I think he just didn't expect it. He was trusting 00:49:08.880 --> 00:49:13.079 Arthur to get all the right information. He didn't 00:49:13.079 --> 00:49:15.699 know that they were going to be facing a military. 00:49:18.099 --> 00:49:21.519 So they weren't expecting it to be that dangerous. 00:49:24.559 --> 00:49:28.219 He didn't want to take Saito in in the first 00:49:28.219 --> 00:49:37.840 place, also. But it's just like... Yeah. Does 00:49:37.840 --> 00:49:40.780 that answer your question? Yeah, I guess that 00:49:40.780 --> 00:49:42.539 mainly just I just wanted your thoughts on it 00:49:42.539 --> 00:49:45.900 because I just found that so interesting that 00:49:45.900 --> 00:49:48.119 he chose to not give that information to them. 00:49:49.519 --> 00:49:56.679 But yeah, overall is so good. Yeah, I give it 00:49:56.679 --> 00:50:01.679 a 10. Don't be an old man filled with regret. 00:50:03.659 --> 00:50:11.679 We can all be young men together. Yes. But with 00:50:11.679 --> 00:50:13.400 that being said, that is our show brought to 00:50:13.400 --> 00:50:16.420 you by Popcorn Fumes and a prayer. Our executive 00:50:16.420 --> 00:50:19.719 producer is Penny Pincher. Our director of photography 00:50:19.719 --> 00:50:22.619 is Cam Speed. Our first AD is Slade Clapper. 00:50:22.739 --> 00:50:25.820 Audio is by Check12. Legal is by Sumi Adaria. 00:50:26.119 --> 00:50:29.079 Our makeup was by MakeYouPretty. Marketing wizard 00:50:29.079 --> 00:50:31.659 was Trey Lurr. Our stunts were by FallenHard. 00:50:31.760 --> 00:50:34.199 Script notes were from Paige Turner. Our editor 00:50:34.199 --> 00:50:37.159 was Seymour Takes. Transport was the Amazo Way. 00:50:37.360 --> 00:50:40.800 And union matters are handled, as always, by 00:50:40.800 --> 00:50:43.300 salary. Thank you so much for watching and or 00:50:43.300 --> 00:50:45.079 listening. And remember, if it looks good, it's 00:50:45.079 --> 00:50:50.440 probably done in person. And dream a little bigger, 00:50:50.519 --> 00:50:52.300 John. Yes.