AFI Catalog of Feature Films
Movie Detail
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Inception
Alternate Title: Oliver's Arrow
Director: Christopher Nolan (Dir)
Release Date:   2010
Premiere Information:   Los Angeles and New York openings: 16 Jul 2010
Production Date:   began mid-Jul 2009
Duration (in mins):   147-149
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Cast:   Leonardo DiCaprio ([Dom] Cobb)  
    Ken Watanabe (Saito)  
    Joseph Gordon-Levitt (Arthur)  
    Marion Cotillard (Mal)  
    Ellen Page (Ariadne)  
    Tom Hardy (Eames)  
    Cillian Murphy (Robert Fischer, Jr.)  
    Tom Berenger ([Peter] Browning)  
  and Michael Caine (Miles)  
  and Dileep Rao (Yusuf)  
  and Lukas Haas (Nash)  
  and Talulah Riley (Blonde)  
    Pete Postlethwaite (Maurice Fischer)  
    Tai-Li Lee (Tadashi)  
    Claire Geare (Phillipa, 3 years)  
    Magnus Nolan (James, 20 months)  
    Taylor Geare (Phillipa, 5 years)  
    Johnathan Geare (James, 3 years)  
    Tohoru Masamune (Japanese security guard)  
    Yuji Okumoto (Saito's attendant)  
    Earl Cameron (Elderly bald man)  
    Ryan Hayward (Lawyer)  
    Miranda Nolan (Flight attendant)  
    Russ Fega (Cab driver)  
    Tim Kelleher (Thin man)  
  Bridge sub cons: Nicolas Clerc    
    Coralie Dedykere    
    Silvie Laguna    
    Virgile Bramly    
    Jean-Michel Dagory    
  Penrose sub cons: Helena Cullinan    
    Mark Fleischmann    
    Shelley Lang    
  Bar sub cons: Adam Cole    
    Jack Murray    
    Kraig Thornber    
    Angela Nathenson    
    Natasha Beaumont    
  Lobby sub cons: Marc Raducci    
    Carl Gilliard    
    Jill Maddrell    
    Alex Lombard    
    Nicole Pulliam    
    Peter Basham (Fischer's jet captain)  
    Michael Gaston (Immigration officer)  
    Felix Scott (Businessman)  
    Andrew Pleavin (Businessman)  
    Lisa Reynolds (Private nurse)  
    Jason Tendell (Fischer's driver)  
    Jack Gilroy (Old Cobb)  
    Shannon Welles (Old Mal)  

Summary: Dom Cobb washes up onto a beach, where he sees two young children playing. Guards appear and forcibly escort him to the home of an old Asian man, who recognizes a small spinning top that Cobb carries and struggles to recall the man he knew who carried it. The old man tries hard to remember the person he met in “a half-remembered dream,” but his memory of the past is clouded: Cobb is a master in the art of “extraction,” a form of corporate espionage in which a specialized team invades the victim’s dreams to steal industrial secrets. To carry out a mission, Cobb, and his partner, Arthur, work with others who have specialized talents: an architect who designs a subconscious dreamscape in which the victim’s mind is taken; a forger who, in the shared dream, assumes the identity of any individual the victim knows; and a chemist who formulates sedatives that take the victim and the team into a shared dreamspace from which they can travel into lower levels of the subconscious. After sedating the victim, Cobb and his accomplices attach themselves and the sleeping victim to a portable machine that allows them to participate in the same dream. During the shared dream, the team cons the victim into revealing information. While on a job for the powerful Cobol Engineering, the team attempts to extract information from Mr. Saito, the head of a large energy corporation. However, Saito has been trained to defend himself against extraction and the mission fails. To avoid severe punishment from Cobol for not fulfilling the job, Cobb’s team must disband and go into hiding, but their architect is captured and dragged away by emissaries of the unforgiving corporation. As Cobb and Arthur flee, they are intercepted by Saito, who wants to hire Cobb for the more difficult task of “inception,” or the implanting of an idea into a person’s subconscious during a shared dream. Although Arthur argues that it cannot be done, Cobb, a fugitive barred from returning to his home and two young children in the United States, says he has done it but chooses not to do so again. Only after Saito offers to make it possible for Cobb to safely return to the U.S., does Cobb agree to the job. Saito’s target is Robert Fischer, Jr., the son and heir of the owner of a rival multi-billion-dollar corporation. The elder Fischer, Maurice, is dying and Saito wants Cobb to implant Robert with the idea to break up the corporation’s holdings. To assemble a team, Cobb and Arthur first visit Cobb’s father-in-law, Miles, a college professor who taught Cobb dream sharing. Although Miles disapproves of Cobb’s use of the skill, he wants to help reunite him with his children and introduces him to Ariadne, an American studying in Paris and an exceptional student of architecture. As one of the ways Cobb tests Ariadne’s suitability for the job, he brings her into his subconscious for a shared dream, where she skillfully manipulates the landscape. During the experience, she learns that the architect creates a dreamscape, but the dreamer’s subconscious creates people, called projections, that attack what it perceives as invaders. One of the projections, a young woman Cobb identifies as Mal, stabs and kills Ariadne within the dream, causing her to awaken. Arthur later tells Ariadne that Mal is a projection of Cobb’s deceased wife. While training Ariadne, Arthur explains that extractors move from one level of subconscious to a deeper one, or, dreams within dreams. Because frequent traveling to different levels of the mind makes it harder to distinguish between waking and sleeping, Ariadne is instructed to carry a totem, a small item that indicates to the bearer by its behavior whether he or she is awake. Cobb shows her the small top he carries, which does not stop spinning in a dream, but comes to rest in the waking world. Cobb has been withholding from his companions that his dreams are frequently interrupted by the incongruous sight of his two children playing or by projections of Mal, who attempts to sabotage his work. However, Ariadne senses that Cobb has emotional issues that could create trouble for the team, yet she joins them because of the creative opportunity the job provides. From Arthur, she learns how to create paradoxical architecture, such as infinite staircases and labyrinthine passages, in which the team can hide from projections. To complete the team, Cobb and Arthur travel to Mombasa, Kenya to secure a forger, Eames, and a chemist, Yusuf. Cobb explains to them that he will want to go three levels into the subconscious, or a dream within a dream within a dream, rather than the usual two levels. Although Yusuf believes that only two levels are stable, Cobb says that three can be achieved with a strong sedative. After Saito shows Cobb a dossier he has compiled on Robert that indicates a strained relationship with his father, Cobb warns that a seed planted during inception will change the man forever. In defense of his plans, Saito explains that it is necessary to break up Fischer’s corporation, because it owns most of the world’s oil and could become a superpower. As the team strategizes ways to convince Robert that the implanted idea is his own, Eames studies Peter Browning, Maurice’s right hand man and Robert’s godfather who is gaining power as Maurice weakens. Although they plan to manipulate Robert’s uneasy feelings about his father, Cobb believes that positive emotions work better than negative. The team decides that the idea they will implant is that Robert does not have to follow in his father’s footsteps and that his father wants him to create something for himself. Yusuf explains that the sedative he has created to connect the dreamers accelerates brain functioning, so that with each successively deeper level, a period of time is perceived as longer. Therefore what seems to take one week at the first level of dreaming, will seem to take six months at the second and ten years at the third. Although a sedative will take dreamers to deeper levels, they return to waking states by a series of pre-arranged, synchronized “kicks” —such as the sensation of falling—that are devised at each subconscious level to jolt them up to the next. To alert the dreamers at all levels when time is running out, Arthur chooses a song that, when played, will penetrate to the deeper subconscious. As Ariadne designs the dreamscapes, she guesses that Cobb cannot control his projection of Mal and urges him to warn the others, but Cobb believes he is in control and reveals that the reason he cannot return home is that he was accused of Mal’s murder. Noticing that Cobb has been dreaming a lot on his own, Ariadne enters his dream, where she eavesdrops and hears Mal remind Cobb that he promised when they married that they would grow old together. The team has an opportunity to approach Robert after Maurice dies, when Robert books a seat on a ten-hour flight from Sydney, Australia to Los Angeles. Saito buys the airline and the team takes over the first class compartment. Cobb reminds Saito that when they get to Los Angeles, he will be arrested and imprisoned for life, but Saito says that if the job goes well, he will make one phone call that will get the charges against Cobb dropped. Early on the flight, Cobb drugs Robert’s drink, and Saito and the team enter into a shared dream with him created by Yusuf. In the dream, which is set in a city during a rainstorm, they successfully abduct Robert and drive away with him, but their plans are interrupted by a freight train pushing through the city streets causing accidents. Immediately, the group is ambushed by armed projections, indicating that Robert has been trained to deflect extraction and is defending his subconscious. The projections shoot at them, critically wounding Saito. Although death in a dream usually results in the subject awakening, Yusuf warns that the sedative will prevent any of them from gaining consciousness until it wears off. If Saito dies in the dream, he will be trapped indefinitely in a limbo of deep subconsciousness in which he will eventually forget everything he knows. To save Saito, they must finish the job and return to consciousness. The team takes Robert to a warehouse and tricks him into thinking they want the combination of Maurice’s vault. Eames, who impersonates Browning and pretends that he, too, was abducted, tells Robert that Maurice left an alternate will in the vault instructing him to take apart the corporate holdings. The false Browning assures Robert that Maurice loved him, but Robert says that Maurice’s last word to him was “disappointed.” Ariadne confronts Cobb about the train, which she realizes was from his subconscious. He confesses that he and Mal had experimented with dreams and on a deep subconscious level built a city for themselves where they seemed to spend fifty years. He says that he convinced her to return with him to the real world, but after waking, Mal refused to accept that their subconscious city was a dream and committed suicide, believing that she would return to it. Because she left behind documents that suggested Cobb was a danger to her, he was forced to flee the country to avoid murder charges. As Robert’s hostile projections close in to kill them, they must escape to a deeper level of subconscious to complete the mission. The team enters a van driven by Yusuf. Within the dream, they drug Robert and send themselves into a second, deeper dream, but leave Yusuf behind to drive the van in which they sleep and protect them from Robert’s projections. At the next level down they are in a hotel. Cobb tells Robert that he is dreaming and introduces himself as Robert’s projection and head of his subconscious security. After Cobb convinces him that Browning was responsible for his abduction, Robert agrees to accompany the team deeper into a third subconscious level in order to discover Browning's motives. When they sedate themselves, they leave Arthur in the hotel dream, so that he can look after their sleeping bodies and distract the projections away from them. Robert’s dream on the next level begins on a snow-covered mountain where they ski to a fortress that contains the vault holding Maurice’s alternate will. At the same time in the first dream, Yusuf continues to drive the van carrying his sleeping companions, while Robert’s projections continue to attack him. The disturbance of the car creates gravity distortions in the second level, where Arthur is fighting off attacking projections in the hotel hallway. On the third level of subconsciousness, the instability is experienced as an avalanche. After Yusuf drives to the bridge to create the first kick, he sends a musical signal to the others and, hearing the song, Cobb estimates that Yusuf has ten seconds, Arthur three minutes and on the third level of subconscious they have an hour to complete their task. Yusuf drives off the bridge, creating the first of the synchronized kicks. This creates a freefall environment on the second level for Arthur, who moves the bodies of the dreamers to the elevator, where he sets ups explosive charges that will cause the elevator to drop and create a second kick. On the third level, just as Robert arrives at the vault to open it, Saito dies, then Mal appears and shoots Robert. Cobb declares that their mission has failed, but Ariadne suggests they can follow Robert into limbo and find him. She and Cobb sedate themselves, leaving Eames to watch over them. In a deep level of subconsciousness, Ariadne and Cobb wash up on a beach and walk into a cityscape that Cobb and Mal created. Believing that Mal is holding Robert to lure him to her, Cobb leads Ariadne to a recreation of his home, where they find Mal waiting. Guilt-ridden, Cobb confesses to Ariadne that the reason he knew inception was possible was because he tried it first on Mal. He explains that after spending years in their created world, Mal would not leave it, so he used inception to implant the idea that her world was not real. He convinced her to lie on a train track with him to wait for a train that would kill them and send them to reality. However, the seed of doubt he planted remained with her in the waking world and she committed suicide because she thought it was the way to return to what she believed was reality. Now disturbances from the upper dream levels are causing the city to crumble around them. After Mal tells them where to find Robert, who is unconscious, Ariadne and Robert return to the second level, where Eames uses a defibrillator to revive him. Cobb remains to search for Saito, who he guesses has died by now and is languishing in limbo. Mal tries to convince Cobb to stay with her to keep his promise of growing old together, but he tells her that during their fifty years together in their created city they did grow old and now he must release her and move on. As the van in the first dream approaches the water, which will create a kick, Arthur sets charges in the elevator in the second dream that will explode simultaneously. Robert opens the vault in the third dream and enters to find his projection of Maurice as he appeared before his death. Robert tells Maurice he knows he is disappointed that he is not like him, but Maurice explains that he is disappointed Robert tried to be like him. The van then slams into the water, and the charges on the lower two levels explode, creating the kicks that allow the dreamers to return to the van in the first dream. Everyone but Cobb and Saito exit the sinking vehicle and swim to shore. In a deep level of subconscious, Cobb awakens as he is washed ashore and sees projections of his two children playing. Guards forcibly escort him to see Saito, who has been there for decades, according to subconscious time, and is now an old man surrounded by projections. Cobb says he has come to remind Saito that this world is not real and invites him to return to the waking world. Their job completed, the members of the group awaken on the plane. When Robert gains consciousness, he no longer feels the burden of his father’s disapproval, and plans to dismantle the corporation. Cobb awakens in the plane twenty minutes before it lands in Los Angeles, and exchanges glances with Saito, who makes one phone call. At the airport, Cobb passes through immigration to where Miles awaits him. At home he spins the top to see if he is in the real world, but he does not remain to watch when he sees the faces of his children. 

Production Company: Legendary Pictures  
  Syncopy  
Production Text: A Film by Christopher Nolan
Distribution Company: Warner Bros. Pictures (A TimeWarner Company)
Director: Christopher Nolan (Dir)
  Jan Foster (Unit prod mgr)
  Mark Mostyn (Unit prod mgr, United Kingdom)
  Brian Leslie Parker (Unit prod mgr, Canada)
  Shuhei Okabayashi (Unit prod mgr-Japan)
  Nilo Otero (1st asst dir)
  Brandon Lambdin (2d asst dir)
  Lauren Pasternack (Addl 2d asst dir)
  Richard Graysmark (2d asst dir, United Kingdom)
  Paula Turnbull (2d asst dir, United Kingdom)
  Greg Pawlik (2d 2d asst dir)
  Sarah Hood (3d asst dir, United Kingdom)
  James Rainer (3d asst dir, United Kingdom)
Producer: Emma Thomas (Prod)
  Christopher Nolan (Prod)
  Chris Brigham (Exec prod)
  Thomas Tull (Exec prod)
  Jordan Goldberg (Co-prod)
  Thomas Hayslip (Assoc prod, Canada)
Writer: Christopher Nolan (Wrt)
Photography: Wally Pfister (Dir of photog)
  Pete Romano (Underwater dir of photog)
  Hans Bjerno (Aerial dir of photog)
  Mark Weingartner (Visual eff dir of photog)
  Chris Patterson (Ski cam dir of photog, Canada)
  Bob Hall (1st asst cam)
  Daniel McFadden (2d asst cam)
  Dan Schroer (Addl 2d asst cam)
  Graham Hall (B cam op/Steadicam, United Kingdom)
  Wayne Baker (Visual eff cam)
  Ben Perry (Loader)
  Melissa Moseley (Still photog)
  Steve Vaughan (Still photog)
  Kevin Boyd (Key video assist/Computer video supv)
  Cory Geryak (Chief lighting tech)
  Larry Sushinski (Asst chief lighting tech)
  Andy Long (Gaffer, United Kingdom)
  Charles H. McIntyre (Rigging gaffer)
  Ian Franklin (Rigging gaffer, United Kingdom)
  Ray Garcia (Key grip)
  Ryan Monro (Key grip, United Kingdom)
  Rod Farley (Best boy grip)
  Charles Ehrlinger (Best boy grip, Canada)
  Blake Pike (Rigging key grip)
  Dave Pearlberg (Dolly grip)
  Mark Wojciechowski (Dolly grip, Canada)
  Stephen Lee (Video op/Coord, United Kingdom)
  Chapman/Leonard Studio Equipment, Inc. (Cam cranes and dollies by)
Art Direction: Guy Hendrix Dyas (Prod des)
  Brad Ricker (Supv art dir)
  Frank Walsh (Supv art dir, United Kingdom)
  Luke Freeborn (Art dir)
  Dean Wolcott (Art dir)
  Jason Knox Johnston (Art dir, United Kingdom)
  Paul Laugier (Art dir, United Kingdom)
  Andy Thomson (Art dir, United Kingdom)
  Bill Ives (Art dir, Canada)
  Josh Lusby (Asst art dir)
  Charlotte Raybourn (Art dept coord)
  Jennifer Lewicki (Art dept coord, United Kingdom)
  William Eliscu (Graphic des)
  Gabriel Hardman (Storyboard artist)
  Dominique Arcadio (Art researcher)
  Cale Wilbanks (Art archivist)
Film Editor: Lee Smith (Ed)
  John Lee (Addl ed)
  David E. Hall (Post prod supv)
  Eric Lewy (1st asst ed)
  Laura Rindner (1st asst ed)
  Donald Likovich (Asst ed)
  Christy Richmond (Asst ed)
  Paula Suhy (Asst ed)
  Alexis Seymour (Asst ed)
  Katie Hedrich (Asst ed)
  Ben Renton (Asst ed, United Kingdom)
  Mary Beth Smith (Negative cutter)
Set Decoration: Larry Dias (Set dec)
  Doug Mowat (Set dec)
  Lisa Chugg (Set dec, United Kingdom)
  Paul Healy (Set dec, Canada)
  Scott Bobbitt (Leadman)
  Eric Rood (On set dresser)
  Mark Hitchler (Set des)
  Greg Hooper (Set des)
  Larry Hubbs (Set des)
  Bob Fechtman (Set des)
  Sam Page (Set des)
  Jason Mahakian (Lead model maker)
  Sara Gardner-Gail (Buyer)
  Amanda Moss Serino (Buyer)
  Scott Maginnis (Prop master)
  Barry Gibbs (Prop master, United Kingdom)
  Glenn Forbes (Asst prop master)
  Erick Garibay (Asst prop master)
  Harry Lu (Armorer)
  C. Jonas Kirk (Const coord)
  Malcolm Roberts (Const coord, United Kingdom)
  Alf Arndt (Const coord, Canada)
  David Cohen (Modeler gang boss moldshop supv)
  Frank Piercy (Paint supv)
  C. Liloa Wong (Greens foreman)
  Carmine Guglia (Standby painter)
  Zack L. Smith (Key set asst)
  Sam Alvelo (Set prod asst)
  Jeff Hubbard (Set prod asst)
  Olivia "Mousy" McCallum (Set prod asst)
  Crystal Munson (Set prod asst)
  Mandy Noack (Set prod asst)
  Gerson Paz (Set prod asst)
  Adam Slutsky (Set prod asst)
  Amy Venghaus (Set prod asst)
  Ryan Young (Set prod asst)
  Polly Morgan (Set prod asst)
  Leighton Bowers (Set prod asst)
  Luis Rodriquez (Set prod asst)
  Jayson Chang (Set prod asst)
Costumes: Jeffrey Kurland (Cost des)
  Terry Anderson (Asst cost des)
  Bob Morgan (Cost supv)
  Kenny Crouch (Cost supv, United Kingdom)
  Sonny Merritt (Key cost)
  Kendall Errair (Key cost)
  Cookie Lopez-Fahey (Mr. DiCaprio's cost)
  Kelly Porter (Set cost)
  Elizabeth Frank (Set cost)
  Jack Taggart (Cost)
  Ivory Stanton (Cost)
  Kurt J. Blackwell (Cost)
  Pablo Borges (Cost)
  Nina Padovano (Cost)
Music: Hans Zimmer (Mus)
  Alex Gibson (Supv mus ed)
  Ryan Rubin (Mus ed)
  Peter Oso Snell (Asst mus ed)
  Mike Higham (Asst mus ed)
  Lorne Balfe (Score prod and addl mus by)
  Mel Wesson (Ambient mus des)
  Hans Zimmer (Synth programming)
  Howard Scarr (Synth programming)
  Johnny Marr (Guitar)
  Bruce L. Fowler (Orchestrator)
  Matt Dunkley (Orch cond by)
  Mark Wherry (Digital instrument des)
  Steven Kofsky (Mus prod services)
  Gavin Greenaway (Mus score consultant)
  Andrew Zack (Score coord)
  Geoff Foster (Score rec by)
  Alan Meyerson (Score mixed by)
Sound: Richard King (Sd des/Supv sd ed)
  Lora Hirschberg (Re-rec mixer)
  Gary A. Rizzo (Re-rec mixer)
  Ed Novick (Prod sd mixer)
  Brian Robinson (Boom op)
  Sterling Moore (Sd utility)
  Andrew Bock (1st asst sd ed)
  Linda Yeaney (1st asst sd ed)
  R. J. Kizer (ADR ed)
  Hugo Weng (Dial ed)
  Michael W. Mitchell (Sd eff ed)
  Paul Berolzheimer (Sd eff ed)
  Bryan Watkins (Sd eff ed)
  Christopher Flick (Foley supv)
  Bruce Tanis (Foley ed)
  John Roesch (Foley artist)
  Alyson Dee Moore (Foley artist)
  Mary Jo Lang (Foley mixer)
  Thomas J. O'Connell (ADR mixer)
  John Paul Fasal (Sd eff rec mixer)
  Eric Potter (Sd eff rec mixer)
  Michael Babcock (Addl re-rec mixer)
  Eric Flickinger (Re-rec)
Special Effects: PJF Productions, Inc. (Titles by)
  Chris Corbould (Spec eff supv)
  Paul Franklin (Visual eff supv)
  Peter Notley (Spec eff floor supv, United Kingdom)
  Kevin Herd (Spec eff workshop supv, United Kingdom)
  Paul Knowles (Spec eff workshop supv, United Kingdom)
  Tom Murtagh (Spec eff workshop supv, United Kingdom)
  Roy Quinn (Spec eff workshop supv, United Kingdom)
  Andrew Lockley (Visual eff supv, Double Negative)
  Peter Bebb (Visual eff supv, Double Negative)
  Rob Hodgson (Visual eff supv, Double Negative)
  Mike Chambers (Visual eff prod)
  Matt Plummer (Visual eff prod, Double Negative)
  Nina Fallon (Visual eff assoc prod, Double Negative)
  Natalie Stopford (Visual eff assoc prod, Double Negative)
  Scott Fisher (Spec eff coord)
  Jason Paradis (Spec eff coord, Canada)
  Katy Mummery (Visual eff coord, Double Negative)
  Michelle Kuginis (Visual eff coord, Double Negative)
  Peter Olliff (Visual eff coord, Double Negative)
  Arabella Gilbert (Visual eff coord, Double Negative)
  Ali Ingham (Visual eff coord, Double Negative)
  Andy Smith (Sr spec eff tech)
  Mario Vanillo (Sr spec eff tech)
  John J. Downey (Spec eff tech)
  Jim Rollins (Spec eff tech)
  Leo Solis (Spec eff tech)
  Monette Dubin (Visual eff prod supv)
  Steve Miller (Visual eff ed)
  Scott Wesley Ross (Visual eff asst ed)
  Steve Rhee (Visual eff asst ed)
  Joe Wehmeyer (Visual eff on set data wrangler)
  Katie Stetson (Visual eff asst coord)
  Richard Wilson (Visual eff asst coord)
  Doug Nicholas (Visual eff asst coord)
  Kieran Ahern (Visual eff prod asst)
  Matthew Eberle (Visual eff prod asst)
  Shun Tsuchiya (Visual eff prod asst)
  Curtis Michael Davey (Visual eff prod asst)
  Double Negative Ltd. (Visual eff by)
  Phillip Johnson (CG supv, Double Negative)
  Aleks Pejic (CG supv, Double Negative)
  Dan Neal (CG supv, Double Negative)
  Philippe Leprince (CG supv, Double Negative)
  Stuart Farley (CG supv, Double Negative)
  Alison Wortman (CG supv, Double Negative)
  Vanessa Boyce (CG supv, Double Negative)
  Bruno Baron (CG lighting supv, Double Negative)
  Maxx Leong (Lead CG lighting artist, Double Negative)
  James Benson (Lead CG lighting artist, Double Negative)
  Clement Gerard (Lead CG lighting artist, Double Negative)
  Alexandre Millet (Lead CG lighting artist, Double Negative)
  Peter Ocampo (CG lighting artist, Double Negative)
  Cenay Oekman (CG lighting artist, Double Negative)
  Ellen Poon (CG lighting artist, Double Negative)
  Stephen Borneman (CG lighting artist, Double Negative)
  Paul Burton (CG lighting artist, Double Negative)
  Huw Evans (CG lighting artist, Double Negative)
  Paul Brannan (CG lighting artist, Double Negative)
  John Seru (CG lighting artist, Double Negative)
  Jacob Slutsky (CG lighting artist, Double Negative)
  Mark Masson (CG lighting artist, Double Negative)
  Alistair Darby (CG lighting artist, Double Negative)
  James Guy (CG lighting artist, Double Negative)
  Lee Tibbetts (CG lighting artist, Double Negative)
  Paul McWilliams (CG lighting artist, Double Negative)
  Clare Williams (CG lighting artist, Double Negative)
  Becky Graham (CG lighting artist, Double Negative)
  Arild Anfinnsen (CG lighting artist, Double Negative)
  Stephen Ellis (CG lighting artist, Double Negative)
  Thomas Carrick (CG lighting artist, Double Negative)
  Brian Silva (CG lighting artist, Double Negative)
  Paul Ducker (CG lighting artist, Double Negative)
  Azzard Gordon (CG modeller, Double Negative)
  Eugene Lipkin (CG modeller, Double Negative)
  Carlos Poon (CG modeller, Double Negative)
  Henrik Soder (CG modeller, Double Negative)
  Mikael Brosset (CG modeller, Double Negative)
  Marko Schobel (CG modeller, Double Negative)
  Will Correia (CG modeller, Double Negative)
  Patsy Yuen (Texture artist, Double Negative)
  Keziah Bailey (Texture artist, Double Negative)
  Mike Bain (Texture artist, Double Negative)
  Nicola Hoyle (CG eff supv, Double Negative)
  Kai Stavginski (Lead CG eff artist, Double Negative)
  May Leung (Lead CG eff artist, Double Negative)
  Luca Zappala (Lead CG eff artist, Double Negative)
  Danielle Brooks (Lead CG eff artist, Double Negative)
  David Hyde (Lead CG eff artist, Double Negative)
  Chris Ung (Lead CG eff artist, Double Negative)
  Jeremy Smith (Lead CG eff artist, Double Negative)
  Jean Claude Nouchy (CG eff artist, Double Negative)
  Joe Thornley (CG eff artist, Double Negative)
  Muhittin Bilginer (CG eff artist, Double Negative)
  Heiko Sulberg (CG eff artist, Double Negative)
  Sotiris Georghiou (CG eff artist, Double Negative)
  Dominic Carus (CG eff artist, Double Negative)
  Paul Boyd (CG eff artist, Double Negative)
  Terry Marriott (CG eff artist, Double Negative)
  Erik Tvedt (CG eff artist, Double Negative)
  Daniel Baldwin (Matchmove supv, Double Negative)
  Richard Burnside (Matchmove artist, Double Negative)
  Ryan Woodward (Matchmove artist, Double Negative)
  David Goubitz (Matchmove artist, Double Negative)
  Jay Fleming (Matchmove artist, Double Negative)
  Andy Potter (Matchmove artist, Double Negative)
  Rob Seaton (Matchmove artist, Double Negative)
  Fanny Roche (Matchmove artist, Double Negative)
  Julien Fourvel (Matchmove artist, Double Negative)
  Michael Lyle (Matchmove artist, Double Negative)
  James Mulholland (Matchmove artist, Double Negative)
  Timothy Russell (Matchmove artist, Double Negative)
  Jonathan Perez (Matchmove artist, Double Negative)
  Sam Hanover (Matchmove artist, Double Negative)
  Andrew MacLeod (Matchmove artist, Double Negative)
  Matt Sadler (Matchmove artist, Double Negative)
  Laurence Priest (Matchmove artist, Double Negative)
  Sophie Robinson (Matchmove artist, Double Negative)
  Sean Whelan (Matchmove artist, Double Negative)
  Joe Dennis (Matchmove artist, Double Negative)
  Michael Cashmore (Matchmove artist, Double Negative)
  Ross Wilkinson (Matchmove artist, Double Negative)
  Graham Page (Compositing seq supv, Double Negative)
  George Zwier (Compositing seq supv, Double Negative)
  Astrid Busser-Casas (Compositing seq supv, Double Negative)
  Tilman Paulin (Compositing seq supv, Double Negative)
  Jan Maroske (Compositing seq supv, Double Negative)
  Richard R. Reed (Compositing seq supv, Double Negative)
  Scott Pritchard (Compositing seq supv, Double Negative)
  Tom Hocking (Compositing seq supv, Double Negative)
  Sean Heuston (Compositing seq supv, Double Negative)
  Julian Gnass (Compositing seq supv, Double Negative)
  Paul Scott (Compositor, Double Negative)
  Susanne Becker (Compositor, Double Negative)
  Per Mork-Jensen (Compositor, Double Negative)
  Scott Marriot (Compositor, Double Negative)
  Sonny Pye (Compositor, Double Negative)
  Adam Hammond (Compositor, Double Negative)
  Tom Middleton (Compositor, Double Negative)
  Ami Patel (Compositor, Double Negative)
  Miodrag Colombo (Compositor, Double Negative)
  Jamie McPherson (Compositor, Double Negative)
  Mark Payne (Compositor, Double Negative)
  Bimla Chall (Compositor, Double Negative)
  Joerg Baier (Compositor, Double Negative)
  Kim Wiseman (Compositor, Double Negative)
  Daniel Rauchwerger (Compositor, Double Negative)
  Romain Bouvard (Compositor, Double Negative)
  Annie Nakamura (Compositor, Double Negative)
  Ben Taylor (Compositor, Double Negative)
  Debbi Coleman (Compositor, Double Negative)
  Kirsty Clark (Compositor, Double Negative)
  John Galloway (Compositor, Double Negative)
  Charlie Noble (Compositor, Double Negative)
  Tom Luff (Compositor, Double Negative)
  Jeremy Hey (Compositor, Double Negative)
  Matthew Jacques (Compositor, Double Negative)
  Graham Day (Compositor, Double Negative)
  Ben Hicks (Compositor, Double Negative)
  Alice Mitchell (Compositor, Double Negative)
  Carlo Scaduto (Compositor, Double Negative)
  Bronwyn Edwards (Compositor, Double Negative)
  Peter Vickery (Compositor, Double Negative)
  Helgi Laxdal (Compositor, Double Negative)
  Andi Dorfan (Compositor, Double Negative)
  Ciaran Crowley (Compositor, Double Negative)
  Giuseppe Tagliavini (Compositor, Double Negative)
  Nik Brownlee (Compositor, Double Negative)
  Oscar Tornincasa (Compositor, Double Negative)
  Sharon Warmington (Compositor, Double Negative)
  Richard Bain (Compositor, Double Negative)
  Helen Wood (Compositor, Double Negative)
  Yoav Dolev (Rotoscope artist, Double Negative)
  Luke Bigley (Rotoscope artist, Double Negative)
  Kevin Norris (Rotoscope artist, Double Negative)
  Ellen Miki (Rotoscope artist, Double Negative)
  Philip Smith (Rotoscope artist, Double Negative)
  Yousaf Main (Rotoscope artist, Double Negative)
  Christopher Jaques (Rotoscope artist, Double Negative)
  Sam Dawes (Rotoscope artist, Double Negative)
  Enrik Pavdeja (Rotoscope artist, Double Negative)
  Jean-Francois Leroux (Rotoscope artist, Double Negative)
  Ben Dick (Rotoscope artist, Double Negative)
  Edward Andrews (Rotoscope artist, Double Negative)
  Renaud Madeline (Rotoscope artist, Double Negative)
  Daniel Leatherdale (Rotoscope artist, Double Negative)
  Ana Gomes (Rotoscope artist, Double Negative)
  Charlie Ellis (Rotoscope artist, Double Negative)
  Luke Ballard (Rotoscope artist, Double Negative)
  Dan Churchill (Rotoscope artist, Double Negative)
  Yuko Kimoto (Rotoscope artist, Double Negative)
  Mary Stroumpouli (Rotoscope artist, Double Negative)
  Kamelia Chabane (Rotoscope artist, Double Negative)
  Wesley Roberts (Rotoscope artist, Double Negative)
  Tara Roseblade (Rotoscope artist, Double Negative)
  Vincent Chang (Rotoscope artist, Double Negative)
  Lester Brown (Rotoscope artist, Double Negative)
  Stephen Tew (Rotoscope artist, Double Negative)
  Gurel Mehmet (Visual eff art dir, Double Negative)
  Dimitri Delecovias (Matte Painter, Double Negative)
  Diccon Alexander (Matte Painter, Double Negative)
  Simon Gustafsson (Matte Painter, Double Negative)
  Philippe Gaulier (Matte Painter, Double Negative)
  Leanne Young (Visual eff ed, Double Negative)
  Josh Lawson (Asst visual eff ed, Double Negative)
  Claudia Maharaj (Asst visual eff ed, Double Negative)
  Laurent Hamery (Software development, Double Negative)
  Oliver Harding (Software development, Double Negative)
  Dane Barney (Software development, Double Negative)
  Davide Vercelli (Software development, Double Negative)
  Will Harrower (Software development, Double Negative)
  Jennifer Wood (Software development, Double Negative)
  Peter Kyme (Software development, Double Negative)
  David Minor (Software development, Double Negative)
  Paul Hogbin (Software development, Double Negative)
  Ian Masters (Software development, Double Negative)
  Jeff Clifford (Software development, Double Negative)
  Jonathan Stroud (Software development, Double Negative)
  James Roberts (Software development, Double Negative)
  Marie Tollec (Software development, Double Negative)
  Matthias Scharfenberg (Software development, Double Negative)
  Oliver James (Software development, Double Negative)
  Siobhan Platten (Software development, Double Negative)
  Ted Waine (Software development, Double Negative)
  Dan Bailey (Software development, Double Negative)
  Luke Goddard (Software development, Double Negative)
  Trina Roy (Software development, Double Negative)
  Peter Hanson (Tech support, Double Negative)
  Miles Drake (Tech support, Double Negative)
  Simon Speight (Tech support, Double Negative)
  New Deal Studios, Inc. (Visual eff by)
  Ian Hunter (Visual eff, New Deal Studios)
  David Sanger (Visual eff, New Deal Studios)
  Shannon Blake Gans (Visual eff, New Deal Studios)
  Forest P. Fischer (Visual eff, New Deal Studios)
  Scott Schneider (Visual eff, New Deal Studios)
  Branden W. Seifert (Visual eff, New Deal Studios)
  Scott Beverly (Visual eff, New Deal Studios)
  Robert Spurlock (Visual eff, New Deal Studios)
  John Cazin (Visual eff, New Deal Studios)
  Timothy E. Angulo (Visual eff, New Deal Studios)
  E.M. Bowen (Visual eff, New Deal Studios)
  Richard Slifka (Visual eff, New Deal Studios)
  LiDAR VFX (Lidar scanning by)
  Paul Maurice (Lidar scanning by)
  Brandon Harr (Lidar scanning by)
  Jon Hanzelka (Lidar scanning by)
Make Up: Jan Alexander (Hair dept head)
  Luisa Abel (Makeup dept head)
  Terry Baliel (Key hairstylist)
  Kathryn L. Blondell (Mr. DiCaprio's hairsylist)
  Jay Wejebe (Key makeup artist)
  Maggie E. Elliott (Makeup artist)
  Sian Grigg (Mr. DiCaprio's makeup artist)
Production Misc: John Papsidera (Casting)
  Jennifer Cram (Casting assoc)
  Dylan Jury (Casting asst)
  Maryellen Aviano (Extras casting)
  Syson Grainger (UK casting)
  Helen Medrano (Prod controller)
  Steven Roger Gehrke (Scr supv)
  Francie Brown (Dialect coach)
  Dean Bailey (Ultimate arms tech)
  Lev Yevstratov (Ultimate arms tech)
  Craig Hosking (Helicopter pilot)
  Elona Tsou (Prod supv)
  Sarah Spearing (Prod office coord)
  Bryan Davis (Asst prod office coord)
  Hailey Murray (Post prod coord)
  Katherine Tibbetts (Prod coord, United Kingdom)
  Kim Goddard-Rains (Prod coord, Canada)
  Hallam Rice Edwards (Asst prod coord, United Kingdom)
  Tom Forbes (Asst prod coord, United Kingdom)
  Mike Woodley (Supv aerial coord, United Kingdom)
  Morgan Ahlborn (Prod secy)
  Carrie Oyer (Travel coord)
  Carlo Pratto (Prod accountant)
  Anthea "Ants" Strangis (Prod accountant)
  Frederic Greene (Loc accountant)
  Bobbie Johnson (Loc accountant)
  Christian Feldhaus (Loc accountant, United Kingdom)
  Pam Des Vigne (1st asst accountant)
  Becky Maxwell (1st asst accountant, United Kingdom)
  Barbara Unrau (1st asst accountant, Canada)
  Nolan Medrano (Post prod accountant)
  Peninsula Film (Prod services-France)
  Zak Productions (Prod services-Morocco)
  John Bernard (Line prod-France)
  Zak Alaoui (Line prod-Morocco)
  Gilles Castera (Prod mgr-France)
  Sam Breckman (Prod mgr-Morocco)
  Arnaud Kaiser (Loc mgr-France)
  Emma Pill (Loc mgr-Morocco)
  Mitchell Dauterive (Prod supv-Japan)
  Yoshikuni Taki (Media Wave Inc. prod-Japan)
  Kanjiro Sakura (Cross Media, Inc. prod-Japan)
  Stacey Kelly (Asst to Mr. Nolan)
  Derek Thorn (Asst to Ms. Thomas)
  Aya Tanimura (Asst to Mr. Brigham)
  Jason Irizarry (Asst to Mr. DiCaprio)
  Carrie Gooch (Asst to Ms. Page)
  Satch Watanabe (Asst to Mr. Watanabe)
  Tony Fang (Office staff asst)
  Mark McSorley (Office staff asst)
  Alexandra Pursglove (Office staff asst)
  Alex Westmore (Office staff asst)
  Andrew Will (Office staff asst)
  Hellen Marin (Office staff asst)
  Kristen Mason (Office staff asst)
  Ilt Jones (Loc mgr)
  JJ Hook (Loc mgr)
  Nick Daubeny (Loc mgr, United Kingdom)
  Rino Pace (Loc mgr, Canada)
  Mandi Dillin (Key asst loc mgr)
  Kai Ephron (Key asst loc mgr)
  Ronald Haynes (Key asst loc mgr)
  Manny Padilla (Key asst loc mgr)
  David Park (Key asst loc mgr)
  Alfonso Ruiz (Key asst loc mgr)
  Michael Wesley (Key asst loc mgr)
  Nancy Wong (Key asst loc mgr)
  Keomanee Vilaythong (Asst loc mgr)
  Jay St. Louis (Asst loc mgr, Canada)
  Denny Caira (Transportation coord)
  Coleman Robinson (Transportation coord, Canada)
  Mike Shannon (Transportation capt)
  Steve Brigden (Transportation capt, United Kingdom)
  Leah Amir (Craft service)
  Jason Inman (Medic)
  Gene Starzenski (Medic)
  Chef Robert Catering (Catering)
  Vince Jordan (Catering, United Kingdom)
  Amanda Brand (Unit pub)
  Chris Goble (Post prod asst)
  Bobbie Shay (Post prod asst)
  Jeff Winkle (Post prod asst)
  Kate Denning (Post prod asst, United Kingdom)
  Tyler Gaisford (Picture car coord)
  Ian Clarke (Picture car coord, United Kingdom)
Stand In: Hans Bjerno (Aerial dir of photog)
  Tom Struthers (Stunt coord)
  Sy Hollands (Stunt coord)
  Brent Woolsey (Stunt coord)
  Danny Le Boyer (Stunts)
  Andy Bradshaw (Stunts)
  Richard L. Bucher (Stunts)
  Richard Burden (Stunts)
  Allison Caetano (Stunts)
  Bruce Cain (Stunts)
  Tom Cohan (Stunts)
  Eliza Coleman (Stunts)
  George Cottle (Stunts)
  Steve DeCastro (Stunts)
  Jake Dewitt (Stunts)
  Wade Eastwood (Stunts)
  Rick English (Stunts)
  Roel Failma (Stunts)
  Mark Fichera (Stunts)
  Marie Fink (Stunts)
  Steve Griffin (Stunts)
  Bobby Hanlon (Stunts)
  Adam Hart (Stunts)
  Logan Holladay (Stunts)
  Gary Hoptrough (Stunts)
  Jason Hunjan (Stunts)
  Stephen Izzi (Stunts)
  Terry Jackson (Stunts)
  Ruth Jenkins (Stunts)
  Luke Kearney (Stunts)
  Jess King (Stunts)
  Maurice Lee (Stunts)
  Terry J. Leonard (Stunts)
  James Lew (Stunts)
  Michael Li (Stunts)
  Nito Larioza (Stunts)
  Diana R. Lupo (Stunts)
  Rick Miller (Stunts)
  Steve Oeding (Stunts)
  Monte Perlin (Stunts)
  Norbert Phillips (Stunts)
  Andy Pilgrim (Stunts)
  Mark Rayner (Stunts)
  Rex J. Reddick (Stunts)
  Simon Rhee (Stunts)
  Tracey Ruggiero (Stunts)
  Brandon Sebek (Stunts)
  Diz Sharpe (Stunts)
  Gunther Simon (Stunts)
  Paul Sklar (Stunts)
  Marvin Stewart-Campbell (Stunts)
  John Street (Stunts)
  Melissa R. Stubbs (Stunts)
  Mens-Sana Tamakloe (Stunts)
  Philip Tan (Stunts)
  Marlow Warrington-Mattei (Stunts)
  Chrissy Weathersby (Stunts)
  Jim Wilkey (Stunts)
  Harry Wowchuk (Stunts)
  Richard Wu (Stunts)
  Ryan Young (Stunts)
Animation: Dorian Knapp (Anim, Double Negative)
  Stewart Ash (Anim, Double Negative)
Color Personnel: David Orr (Col timer)
MPAA Rating: PG-13
Country: Great Britain and United States
Language: English

Music:
Songs: "Non, je ne regrette rien," written by Charles Dumont and Michel Vaucaire, performed by Edith Piaf, courtesy of EMI Music France, under license from EMI Film & Television Music; "Aboun Salehoun," written by Youssef El Mejjad and Pat Jabbar, performed by Amira Saqati, courtesy of Barraka El Farnatshi Productions.
Composer: Charles Dumont
  Pat Jabbar
  Youssef el Mejjad
  Michel Vaucaire
Source Text:

Copyright Claimant Copyright Date Copyright Number
Warner Bros. Entertainment Inc. 21/1/2011 dd/mm/yyyy PA1715030
Legendary Pictures 21/1/2011 dd/mm/yyyy PA1715030

PCA NO: 46101
Physical Properties: Sd: Dolby digital; dts; SDDS Sony Dynamic Digital Sound in selected theatres
  col: Technicolor
  gauge: 35mm and 65 mm
  Widescreen/ratio: Camera & lenses by Panavision; Color and prints by Technicolor

 
Genre: Science fiction
Sub-Genre: Suspense
 
Subjects (Major): Deception
  Dreams
  Espionage
  Guilt
  Industrialists
  Wives
 
Subjects (Minor): Asians
  Automobile chases
  Business rivals
  Children
  College students
  Death and dying
  Elevators
  Falls from heights
  False accusations
  Family relationships
  Fathers and sons
  Fathers-in-law
  Fugitives
  Godparents
  Hotels
  Imaginary lands
  Impersonation and imposture
  Kidnapping
  Los Angeles (CA)
  Mombasa (Kenya)
  Oil companies
  Paris (France)
  Professors
  Rainstorms
  Skiing
  Sleeping potions
  Songs
  Suicide
  Thieves
  Totems
  Trains
  Vaults
  Wills
  Wounds and injuries

Note: The working title of the film was Oliver’s Arrow . At the end of the film, "Dom Cobb's" top is still spinning, an indication that the reunion with his children might not be occurring in the waking world. The spinning top seems to begin to slow down, but the film cuts abruptly to a title card before it becomes clear whether Cobb is still within a dream.
       All credits except for company logos appear after the film. The end credits contain a “Special Thanks” to the following organizations: City of Rancho Palos Verdes; La Prefecture de Police de Paris; La Mairie de Paris – Mission Cinema, Paris Film; His Majesty Mohamed VI and The Civilian and Military Authorities of Morocco; Audionamix Inc.; JR Train; and the Estate of Francis Bacon. The end credits also acknowledge assistance in the making of the film from the Government of Alberta, Alberta Film Development Program and the French Tax Rebate for International Productions.
       According to 16 Jul and 4 Apr 2010 LAT articles, Nolan conceived of the idea for the film when he was sixteen years old and wrote his first draft of the screenplay around 2002. The Apr 2010 LAT article also stated that Nolan had been intrigued with dreams since he was a child. The same article reported that Nolan incorporated many ideas of actor Leonardo DiCaprio into the script, especially those related to Dom Cobb's character.
       The 13 Jul 2010 LAT article noted that Inception cost $160 million to make. The article also stated that it was a gamble for Warner Bros. and Legendary, because theater attendance at that time was down, several big budget movies had recently performed poorly at the box office and Nolan was only at the cusp of having a box-office drawing presence. Despite the risks, according to the article, the studios gave Nolan free rein as he shot principal photography in six countries.
       The 4 Apr 2010 LAT article noted that computer effects were used in the making of the film, such as for the creation of the cityscape of Paris folding over on itself and other effects that were reminiscent of the work of artist M. C. Escher. However, according to a 19 Jul 2010 Var article, special effects man Chris Corbould also used many old-school, in-camera techniques, such as air cannons and lightweight replicas of debris, and a high speed camera for slow motion explosions. He reported in the same article that one sequence used five separate techniques. According to the New Yorker review, actors were suspended by invisible wires to create the sense of floating in a zero-gravity space. A 16 Jul 2010 LAT article stated that the sixty-foot train that appears to drive through the city streets in one sequence was filmed in downtown Los Angeles and achieved by placing a replica of a train engine on the chassis of an eighteen-wheel tractor-trailer. A 1 Dec 2010 HR article reported that the sequence depicting the submerged van required the actors to use scuba tanks for air.
       As noted in the 7 Dec 2010 LAT article, a hotel corridor was built to rotate 360 degrees. The New Yorker and HR reviews reported that sequences shot in the corridor were reminiscent of the iconic scene in the 1951 film, The Royal Wedding (see entry) in which actor Fred Astaire danced on walls and ceilings. The Apr 2010 LAT article reported that actor Joseph Gordon-Levitt (“Arthur”) spent weeks learning to fight in the corridor as it rotated, and a 1 Dec 2010 HR article stated that the actor spent several days wired into a harness within the rotating set. A 7 Dec 2010 LAT article reported that hall lights had to be built into the frame of the set of the rotating hall to achieve continuity, instead of using free standing or grid lights, and that a second version of the corridor was built to stand eighty feet high in a vertical position. The Apr 2010 LAT article reported that the nightclub set was also built to tilt and the 7 Dec 2010 LAT article reported that the elevator set was built horizontally.
       A 13 Jul 2010 DV article reported that the film was shot mostly in 35 mm, but some city exteriors, wide shots and other scenes were shot in 65 mm. The same article reported that cinematographer Wally Pfister created distinct color palettes to differentiate the dream layers in the story, using a bluish tint for the rain-soaked city in the first dream, warm tones for the hotel hallway in the second dream, and white for snowy mountain slopes of the third dream. A 13 Jul 2010 Var news item mentioned that Pfister and Nolan considered having a 2D-to-3D conversion in post-producton, but decided against it because of the story’s complex structure.
       Although the end credits note that portions of the film were shot in Alberta, Canada and France, the 13 Jul 2010 LAT article specified Paris and added Morocco; Tokyo, Japan; London, England and Los Angeles as additional shooting sites. According to the Apr 2010 LAT article, a hanger in Cardington, England outside London was used as a shooting site for portions of the film. Another key scene, according to the 4 Apr 2010 LAT article, was shot at the Architecture School at University College London, where Nolan had been an English major and where he met his wife and co-producer, Emma Thomas.
       In a 17 Nov 2010 DV article, composer Hans Zimmer reported that he used electronic music in sixty percent of the soundtrack. He stated that he electronically manipulated the recordings of live musicians, who sometimes imitated the electronic sounds, and he re-recorded manipulated sounds in an acoustical environment to musically conceptualize the “dreams within dreams” theme. According to the article, a 1960 master of the song, “Non, je ne regrette rien” as recorded by singer Edith Piaf, was obtained from the French National Archive and used as one of the “kicks” in the film.
       The HR review described Inception as “easily the most original movie idea in ages.” A 16 Jul 2010 Wall Street Journal article predicted that the success of the picture could create a “new turn” in the film industry, prompting studios to be more willing to fund new concepts and franchises. The film received numerous critical praises. In addition to being named one of AFI’s Movies of the Year, Inception won Academy Awards for Best Cinematography, Sound Editing, Sound Mixing and Visual Effects and was nominated for Best Picture, Writing – Original Screenplay, Original Score and Art Direction. The film received Golden Globe nominations for Best Motion Picture, Drama; Best Director, Motion Picture; Best Original Score, Motion Picture; and Best Screenplay. The film won the WGA Award for Best Original Screenplay. Nolan and Thomas were nominated by the PGA for The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures, and Nolan was nominated by the DGA for Outstanding Directorial Achievement. In addition, the film won SAG’s Outstanding Performance by a Stunt Ensemble in a Motion Picture and won the Art Directors Guild (ADG) Excellence in 2010 Production Design Awards for Fantasy Feature Film.
 

Bibliographic Sources:   Date   Page
Daily Variety   13 Jul 2010   p. 2.
Daily Variety   17 Nov 2010.   
Hollywood Reporter   6 Jul 2010   pp. 8, 10.
Hollywood Reporter   1 Dec 2010.   
Los Angeles Times   20 Sep 2009.   
Los Angeles Times   4 Apr 2010   Section D, pp. 1, 4.
Los Angeles Times   11 Jul 2010   Section D, pp. 1, 5.
Los Angeles Times   13 Jul 2010   Section B, pp. 1, 3.
Los Angeles Times   16 Jul 2010   Section D, pp. 1, 6.
Los Angeles Times   1 Dec 2010   Secition S, pp. 14, 16.
Los Angeles Times   7 Dec 2010   pp. 14, 16.
New York Times   16 Jul 2010   Section C, p. 1, 13.
New Yorker   26 Jul 2010   pp. 78-79.
Variety   12 Jul 2010   p. 19, 24.
Variety   13 Jul 2010.   
Variety   19 Jul 2010.   
Wall Street Journal   16 Jul 2010   p. 88.

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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