"Inception" may have been directed by Christopher Nolan, but Nolan's dreams are apparently directed by Michael Bay. ——salon这句解气。
libération翻出希区柯克的苦口婆心 ，La phrase d’Hitchcock "il vaut mieux partir du cliché que d’y arriver" illustre bien le trajet inverse de Nolan dans son délire，有本事的人从俗套出发，没本事的用俗套收尾，那肥皂剧版化身为风车的rosebud，这个夏天天雷震震。
new yorker预言豆瓣热评——the theologians of pop culture, taking a break from “The Matrix,” will analyze the over-articulate structure of “Inception” for mighty significances.
Dreams, of course, are a fertile subject for moviemakers. Buñuel created dream sequences in the teasing masterpieces “Belle de Jour” (1967) and “The Discreet Charm of the Bourgeoisie” (1972), but he was not making a hundred-and-sixty-million-dollar thriller. He hardly needed to bother with car chases and gun battles; he was free to give his work the peculiar malign intensity of actual dreams. Buñuel was a surrealist— Nolan is a literal-minded man. Cobb’s intercranial adventures aren’t like dreams at all—they’re like different kinds of action movies jammed together. Buildings explode or collapse, anonymous goons shoot at the dreammakers. Buñuel silently pushed us into reveries and left us alone to enjoy our wonderment, but Nolan is working on so many levels of representation at once that he has to lay in pages of dialogue just to explain what’s going on. At one point, Ariadne asks, “Wait—whose subconscious are we going into, exactly?,” and the audience laughs. It’s the only moment when Nolan acknowledges the nuttiness of his movie.
