TNC 30: Inception Analysis with Victor

So I have to ask doing the inception episode. The important question is, did you bring your totem? I actually did. I brought mine. What is your explainment yours is? So mine is called the tomat-do-do, right? It's a winter take-off. It's a Hispanic thing, right? So you basically spin it. Right? Spin it. And it falls. Obviously, we're not dreaming, right? So it falls on a certain thing, and then depending on what it falls on, you take. There's coins in the middle. You take one coin. You take two coins. You take all the coins. That's the point to get all the. all the coins to take the pot. So it's kind of like gambling. What brought mine? Yeah, what's yours? It's a. D&D die 20 sided. It's loaded like Arthur's. It's loaded. So I know how it falls. It always falls on zero. How much it weighs? Yeah. You know how much it weighs, okay? Which if you play D&D is not very good. But it's good for me because now I know I'm not in a dream. Exactly. So. Had you not brought a totem, I thought, thematically, you would have appreciated this. Boba-fat. Boba-fat. Boba-fat. I would have given you a little bit of time to study it and make sure that even the architect and the dream could mimic this perfectly if you want to go ahead and touch that. Boba-fat. Had you not brought your totem, I would have given that to you as your totem. Well, good thing I did. Good thing you did because if you didn't, I mean, you could have just. We could have been in a dream right now and now it would never know. Wait, what? Of course, my totem. What's going on, y'all? This is Alexander. You are plugged into the Nerd Compantions. [Music] What's going on, y'all? This is Alexander from the Nerd Companion. Thank you for plugging in. This episode is going to be about one of my favorite movies, Inception. And by popular demand, I bring back the legendary Victor. It's great to be back. And thanks for the invite. When you told me, hey, you want to do a podcast about Inception. Where do I sign? Where do I sign? Where do I sign? I need blood. Yeah. I had already signed in blood. This movie is so good. I mean, it's in my top 10. It's in my top 10. I can't, for sure. Yeah, for sure. For sure, for top 10, top 10. Prior to this movie, I did not have a lot of exposure to Christopher Nolan, except for the Batman trilogy. And that was my, the Batman trilogy was the first exposure I had to Christopher Nolan. I think most people, right? Yeah, yeah. At least from the, because no, because the prestige was out before that, I think. I think as far as like how popular the movie was. Right. The prestige was good. And, you know, yeah. But Batman, the trilogy, kind of just, I think it put him in a mainstream. Yeah, it for sure did. And then he went back to do some, like, what do you probably want to do? Not saying he didn't want to do Batman, but I think that was the initial exposure I had. And I had no idea. I had no idea what Christopher Nolan was all about. Right. In regards to filmmaking, writing, directing, and stuff like that. And I want to say that this was the first movie outside of Batman that I watched. I immediately was saying to myself, this man is one of the greats. Who is this guy? Yeah. Yeah. He, I think he said, it took him 10 years to finally do it. Because he's been, he's been wanting to do it for so long. And I think it just wasn't right. It wasn't right for him. So that's probably why he did Batman, all this stuff for whatever. But when he finally got to it, he was just like, all right, I'm ready. This is ready. Let's do it. Yeah. And I think for him is that he does a lot of the writing too. Oh, yeah. Right. So much, so much of the writing. And I think he gets a little bit of input from the producers. From the producers and stuff, right? But for the most part, it's like, this is what you're doing. And this is going to be it. Right. You know, coming up with an idea or an inception or having something grow like when you're trying to write, I mean, that can take years to, I mean, it could take a year itself just to write out a rough draft. And then from there going in and trying to refine it in so many different ways. And then even on your third draft, you're like, oh no, I need to add this because, you know, this and you do end up rewriting it. I'm not sure how that process went for him. But I mean, 10 years. That's it. Yeah. I mean, it's like, why would you want to go watch something that took a year to whatever to do? Unless you're just not saying he's a genius. Super genius. Which I mean, I would, I would even argue to say that knowing this probably one of the greatest writer directors in Filmmake. Yeah. Period. I don't care what you say. I put him up there with Tarrantino. Scorsese. Scorsese. And what and he hasn't done, I mean, I don't know about Tarrantino, but Scorsese. He's got like a plethora of movies that he's done. Nolan didn't even have maybe half of that stuff. And for him to have not as many movies and already be in that realm with those type of directors, it's right. Man, it's a accomplished mission. I think even Tarrantino said he's only making 10 films. And I think that the last one with Brad Pitt is his ninth one. So I think he has one more to go really. Really? Yeah. But no, I think he'll actually. I think so. Yeah. Yeah. He seems like the kind of person is like, now I'm doing 10. I'm going. And that's it. And if something just hits him and he's like, no, now we got to do this. Yeah. But yeah, no one to me is one of the greats. Every single one of his movies has been absolutely amazing. Has there been some that I've enjoyed less than other certainly, you know, the ones that I like the least stand well above most movies that I see? Like you know, you're going to, you're going to go watch a Nolan movie. You know, it's going to be good. Yeah, you're not wasting your money. You're not wasting your time. So it's about the cast real quick. Obviously written director by Christopher Nolan. You have Leonardo Caprio as Cobb, Sillian Murphy as Fisher. He played the scarecrow in the Batman flakes. I don't even know. Like if you go down this, this list of actors here, he, he uses some of that. I was going to, yeah, he was in openheimer. Yeah. Right. He did. He did do up and higher. He did fail. I'm telling you. I'm telling you. That's when I haven't even seen yet. I haven't either. I'm scared to watch that. Like that's like one of the three hours long. And it's a, it's a movie that I want to watch. And I want to sit down and watch it uninterrupted. Exactly right. And like nowadays it's so hard to do that. Yeah. You have Joseph Gordon-Livitt as Arthur, Tom Hardy as Ames. You have Elliott Page in there, Marion Cuddleard as Mal. Ken Watanabe as Sato. And then the infamous Michael Cain as Professor Steven. Such a banger of a cast here. It's, it's so good. The art studded just. What's interesting about these names, which we'll get into when we start talking about the different characters in the story. Cobb's wife Mal is such an interesting name because in many different languages, Mal means bad. Yeah. Like Malnutrition, Malotorous, stuff like that. So I found that very symbolic and pretty cool that, you know, he thinks about these things when he is writing his story. To me, I guess she could be the villain, right? There's so many just different villains. Yeah. But she's not really the villain, right? Because yeah, they could. I mean, I mean, it's just, and what makes it interesting because, and we'll get into it as, as we talk about the story, the way that we see Mal is not actually Mal. Yeah. You know what I mean? Yeah, that's what I'm saying. Like it's how you said, it means bad and all this stuff. And she's, she's bad in the movie, but she's not. Right. Right? It's just like, I don't know if you heard Nolan approach Brad Pitt and Will Smith before he approached the Leonardo DiCaprio. Will Smith said no. Will Smith said yes, Brad Pitt said no. But Will Smith wanted to change some, that's not that's where we go back to. This is the way I want to do it. Will Smith wanted to change some things in the story about Mal and Cobb. Right. And Nolan just wasn't for it. So I'm going to stuck to his guns. That's not the first time that Will Smith has turned down a role that would have been good for his career. He was going to be Neo in the Matrix. Yeah. And he turned it out. And they were going to cast a white guy from Morpheus. And he turned that down. I'm glad he did. Yeah. I mean, it's weird because I wouldn't think Keanu Reeves would be a good actor in a serious movie like that. This is pre-John Wick, of course. Right. But I feel like that really opened the door for Keanu Reeves. Yeah. In a way. And I don't think that there would have, I can't imagine another person playing that role. Keanu Reeves is Neo. There's no other Neo. Yeah. But maybe in some dream within a dream within a dream. Maybe in an inception. So the story of inception starts off inside. Basically starts off with the scene where Cobb is looking pretty rough. And he was basically washed up on a shore being dragged into a room where he is sitting in front of a withered old man. And that withered old man asks Cobb, are you here to kill me? And then the scene immediately changes to a much younger version of this old man. And he is introduced as Sado, sitting in front of a cleaner. Much younger Cobb and another character named Arthur. And what appears to be some sort of business pitch to Sado. Right. And you have no idea they're dreaming. Right. You just think in that they're at this party and they're talking to him about some business opportunity. But Unbeknownst to Sado, he's actually in a dream world where Cobb and Arthur are trying to extract very specific and sensitive information. And that is the whole basic. primus of inception is basically taking someone sedating them in a way where they don't know they're being sedated. Like that's the art of it, right? Like you're taking someone and you're kind of like almost a thief or an assassin. It's actually the actual like it's real life. Like you're actually living it and you have no idea you're asleep, nothing. And the art is in like trying to get them to like like there can't be an altercation that leads them. Like you can't just go smother someone and put them to sleep. Because it may not, it may have an effect on the dream in which they're going to dive into that the art is doing it smoothly to where they don't even know it's happening. And so basically this is basically a test to see if they can if Cobb and Arthur are proficient of the job to extract this information with say though. If they were able to do it properly, I'm sure that they would have been employed by this man, but in the scene as they are jumping from dream to dream. It remembers a minute detail about the carpet. I can't remember if it was a feeling he had or so. Yeah. So it was a dream in his real life. Cameron with fabricated is but in the in the dream, it's polyester. Right. If this wasn't a dream, this wouldn't be whatever. And this is polyester. And then all the right way they tell the guy they're like seriously. Like you messed it up, dude. You messed it up. So they have to board the the dream as fast as they can during the bullet train and they try to get out of there as quickly as possible. Because I'm pretty sure it appears that throughout the movie that the technology of inception or the technology of living in a dream is kind of taboo but people practice it. And I can't imagine it's legal to do. And even looking at it from a broad standpoint, it doesn't even seem moral to do. Even in this story, what they're doing, even though say to has has good intentions for what he is going to propose to Cobb in regard to why they should do this big job. It just doesn't seem moral to do so. Which is kind of the conundrum because it kind of plays into Cobb's struggle throughout the movie. Yeah. Is the immorality of this act of going into a dream, whether that's taking information or planting an idea. We kind of see that in the past that it has its ramification kind of crazy. Like does that stuff actually happen to people actually do stuff like that? What you know, I mean, you might already have people do not you might did that to me. I might have this got podcast. Do you remember how we were approached? Has his hands to top nervously? Does he already know that he's going to do all this stuff because who say to because he remember he's like, oh, we need we need to buy more tickets on the plane. Because I don't I'm not sure if I missed it in the movie. But does it explain why Leonardo or I'm sorry Cobb is inside say does mine at this point because obviously they don't want to be found. They left the train in a hurry after they failed. But was there some sort of pre-arrangement with say you have an opportunity to and set me your best. So I thought I thought it was because it because it seems like Cobb approached him. Right. So I thought it was them trying to extract information from him without him like without him knowing. But what were they trying to take? So do you see that? I just remember the envelope and the blank pages. So I think he found out that they were trying to do that and was like, no, and that's when he caught him. And then he was like, so he probably said Leonardo or so Cobb and Arte were already on a job employed by someone else trying to get information. I think so. I think this is what it was. And then and then Sida was like, well, you guys almost had me. I've got something that I need over here and I want to want to hire you guys. Yeah. Right. So in the dream of Sado, you are met with Mal, which is I don't think it's actually known who Mal is at this point. But it's a antagonist character that seems to be a theme in Cobb's mind whenever they go into dream worlds. And it's something that's very special and intimate with Cobb. And it's not really said at this point. But it does seem to be a recurring problem according to Arthur when they see her on the balcony like, you know, oh, she's here again. Yeah. I'll hand me a hand. Yeah. Yeah. Yeah. Yeah. She's kind of like a like a pest. So I don't know if you caught it. So whenever somehow Mal in the movie, I feel like Cobb, Cobb kind of like. He doesn't know whether the trust Mal or not. I think he wants to. Right. So we can we can talk about. Yeah. So I mean, whenever. So who is Mal? Mal is his wife or, you know, disease disease wife. Right. Yeah. So in that scene, when they open up when they open up the envelope and it's blank, you can see Mal in the background next to Sado. And she's like smiling like almost like laughing to Cobb. I think at that point, it's like trying to get that trust from Cobb so that she can he can like. Truster whenever he sees her in the dreams and stuff like that kind of like reel him back in a little bit because she's he's already trying to know I want to go back to my kids. Listen to that. Right. So I think that. Reels him back in a little bit. Yeah. He's approached by her. She's obviously a pest. And later on, we find out that they were married. But Cobb and Arthur, they leave it appears that Cobb is in a different country. He has received a phone call from his kids. We find out he has kids. And apparently he can't go back home. We don't know why at this point. Arthur comes in says, hey, you know, we mess up the job. They go to the helipad where they think they're going to go to a different job and they're approached by Sado. Yeah. And then Sado is basically telling him, you know, your boy that messed up the architect anytime you guys out. Yeah. And I still think what you did was pretty extraordinary. But I need you to do something else. And what he's basically proposing is to implant an idea. And the character Fisher's mind who Fisher who Fisher is is basically son of a conglomerate mogul of energy in the world. And basically is going to pass on the legacy who is going to basically create an energy monopoly over earth. And so Sado being a mogul himself in the energy sector doesn't want that to happen because it'll create a monopoly. And you already know how monopolies work in an economy is not good. You know, people need options whenever you put that much power into a corporation. It you're too dependent on that corporation, which so I mean, it takes real reality themes that we have that we looked at in real life and kind of puts that element into the story. And so even those sados, you know, on his moral high ground has a good idea and probably we would benefit humanity. We're still left with this moral decision is this right to do to plant an idea Arthur says it's impossible. But Cobb, we don't know full the extent, but he tells him it is possible. And we don't go into he doesn't go into how he knows it's possible, but he knows that it's possible. It can be done. And then say to us as if you do this job, you can go back stateside and see your kids again. So we know that Cobb has done something bad and he cannot go back. He can just walk back and stay side because he's a one and man. So that's the incentive for Cobb to want to do this. I don't want to do it. But so it's so it's because apparently they pin the murder on Cobb that he murdered his wife. Right. Right. Which we'll get into when we talk about, you know, Mao's who she is. Right. The story of how all that happened. I mean, we can we can get right into that. So tell I mean. So tell tell us about like the little brief background on Mao and Cobb and what they were trying to do when they were running these experiments and, and you know, experimenting on the exception. Yeah, technology. I mean, it was just they were just trying to extract information from people and somehow the thing that confuses me. The whole window scene, right where what Windows she jumps out of the right, right. Okay. So it's so let's back. Let's backtrack. She is real life, right? Is it? That's what I'm saying. So I'm, I'm assuming it is right because she dies. But are they in a dream? Let's backtrack. So you're confused as to if they're in a dream, right? And that's so I think that's part of the move for me where I'm like, wait, what are they in a dream? Because she's like, if I jump, will I die? Right. Right. I'll wake up. Right. But she doesn't wake up. She dies. So they were in real life. It's presumed so. Right. Okay. Unless Leonardo didn't kill himself and he's forever stuck in a dream who thinks he's diving into dreams into other dreams, but it's actually not. And I think that's the that's the paradox of the entire story. Right. What is reality? What is dreams, which is my favorite theme in this movie because the question is always, is this scene that I'm watching here a dream or is this reality? Yeah. And so you don't really understand the magnitude of that question until we get deeper into the movie, but cop talks about how those two basically would keep would continue to go into these dreams, right? And they would go and they would spend years there and years there's because they loved each other so much that love was so profound that they were trying to fight the extent of mortality. They wanted to be together forever. And I think the idea was that they could spend 50 years in a dream, wake up and then go back and spend 50 years in a dream, wake up and do it the next day and continue to do it. So you're kind of like putting in this cheat code for life to get to spend. the most time with this person, which is such a beautiful thing. And I think what Nolan does best in all of his movies that he puts a serious undertone and a very specific theme in this movie. He did it with Interstellar. He talked about the love between a parent and a child. Right. Yeah. Right. And it was that that deep, dark, and bright, colorful, all of the things that come with love between a parent and a child was just magnified in that movie. And he does it so well. In this movie where it talks about the love between spouses and like what you're willing to sacrifice to do it, whether that means insanity. So I, or yeah, I mean, I think for Mal, she kind of loses is is real or is this because it's been so long. Right. Exactly. So at that point, it's like she's just so used to just live in this dream live that it's like going to be forever and this and that. And I think that's to the point where she's like if I jump, well, I die. Like, right. You know, I think it also, you know, not to get too serious with it. But when you talk about like the mechanics of the brain, when you talk about like addiction with like drugs, gambling, or drink like anything, like it rewires your brain with like a dopamine response. And you need to have it. You have to have that high. You got to have that feeling that, you know, oh, man, I love how I felt when I was in that specific dream. Right. I want to feel that again. And in those dreams, they can create things like gods, like I mentioned, you can get these dreams, you can build buildings, you can lose, you lose yourself. Yeah. You know, and I think one of the things that Cobb went into whenever he was recruiting his team is that the architect needed to build something as real as possible to the real thing, but never use your name. And I think that that's what was going on is because they were living in this dream world for so long they were using memories and they were having a hard time differentiating the true memories of reality and what is actually objectively a dream if the dream itself is objective. They built the whole city with both of their houses, right. Like just a bunch of stuff from their past and put it all in one city or one dream. And I think that's where you started to kind of they started to kind of lose themselves more so mild than Cobb, right. You know, so I think Cobb's struggle was basically that he couldn't he couldn't necessarily like after that incidents. He couldn't dream anymore because he kind of exhausted his brain in the sense that he was he was so used to, you know, if you're going out hanging out with friends and you do it sober and then you get into a not so great habit of doing drugs or anything, you know, some people would say that, you know, doing the drugs while hanging out with friends is much more fun. Yeah. It's much more engaging when you're doing it and then trying to go back and do it sober. It's like you can never get back to where you were. I didn't have that much fun. I mean, like there's people, but there's people that that feel that you know what I mean. And so, you know, Cobb being, you know, having his imperfection was definitely like I can't even dream anymore. And the only way for me to remember my memories as a kid or, you know, memory of my kids or my wife is the only way to do it through dreams and you see that he does it all the time through the technology of inception to go back and live those good moments. And I think that's his, his crux, essentially. So, you know, now having a harder time distinguishing what's real and what's not because now we're putting these real memories in the dream. And she's having a hard time differentiating what's real because now she's having these connections of memories that were real inside of a dream world. And I think 50 years of that just kind of compounded and she had, she just couldn't do it. Yeah. Yeah. It's pretty sad. I mean, it's really sad. And no one's good at that. And Leo Cobb, when that happens, when she jumps, he just completely breaks down. Like, no, you know, he loses it. Right. So that's, which, yeah. So they they get back out. And then because he planted the idea that this dream world, and that was the, that was, so that was the thing is that, you know, I was saying, you can plant an idea, but it has ramifications. Right. Right. And he doesn't tell his team that, right, until they actually find out for themselves basically. Yeah. You know, it's his character. Yeah. So he knows that it can be done because he did it to his wife. He told her that in, you know, while in this dream world, this isn't real and didn't and didn't understand that that would be a theme whenever she actually came back to the real world. So they, they come out and now she's like struggling with these like dual lives that have happened. And she can't differentiate what's real and what's not. She's aware that there's a dream world. She's aware of this reality, but she can't differentiate, which is which she's contemplating suicide. You know, Cobb is just trying to, you know, remind her like our kids are here. Like, this is the life that we need to be in. And it basically leads up to that scene where she is completely convinced that the world, the actual reality is a dream. And she wants to get back because she has now associated real memories in the dream world to actually being real. And she believes, at least the mechanic of inception is that if you die while inception, you wake up in reality. And so that's the scene is that she's, you know, set up this romantic anniversary. And this could be our ritual to get back to real life. Like how poetic is that? And it was, is in there that hotel room was when they, that was their one year anniversary or something like that. It was a meeting to that hotel room. Yeah. And so and so she basically, basically held him hostage. And basically, Mal reveals that she had planted a letter saying that, you know, he had murdered her, basically forcing his hand because he was going to be a wanted man. And he's like, you might as well just jump and join me in the real world because this dream world that you're living in, which was reality. You're a wanted man and you can't go see your kids anyway. So she kind of put him in a spot. She kills herself. And now he's left with, he's stuck because now he's stateside he's a wanted man. People think that he killed his wife. And now he's on the run. And that, and so that's why we find out that why it's so important for Cob to get back to see his kids because he hasn't been stateside for what seems to be a couple of years. It appears that his dad, which was the professor, yeah, who kind of is showing a little more mercy. Miles dad, right? Yeah. Is that now? Yeah, as well. So you get, you get why Cob can't go back and why it's so important for him to go back. Like he can't just walk back into his stateside because he's a wanted man. So that's why they, they take this job. And, but he was initially a little reluctant to put the idea in because he understands of what that could, what it could lead to. Yeah, but I think he's just like, well, I can go back to see my kids. Exactly. Yeah. Go, you're going to do anything for your kids, takes doing what he had to do. Then ends up being the reason why they take the job. And so the premise of it is basically just trying to plant the idea and Fisher's head that whenever the power gets to him, it's not so much like a power hungry energy company. Right. Right. So that's basically the premise of the movie. And then all the way to the end, it's basically them, which is so tense, the entire movie is them, you know, are, you know, planting this heist, right, this brain heist. And and I think, and like I go back to, I think Sido already knew he knew that Cob was probably going to take the job because he knew the situation that he was in. He did his homework. Exactly. So when he says, I already bought the airline later, yeah, like he already knew like he's going to do it. Yeah, he was going to do it. It's like, I'm as well. So what were like, what were some of your favorite things about this movie, given that we've established the plots, like we don't have to talk about the whole movie, like, talk about like a couple of your favorite things that you really liked about the movie. So the layering, the layering and the of all the dreams where they, you got Arthur's the dreamer in one layer and then Eams, Eams, right, he's the dreamer and the other one. You got the fishers, the other one, not Fisher, it was three of them, right. It was Eams, Arthur, and who was the Fisher? Fisher, right. So you got all these layers that's kind of cool. And then how they, you know, the where the truck is like flipping over and in the dream in the late the next layer, you they're losing gravity. Right. The whole thing where they, they, the thing with Fisher, where they trying to bring him back and you got the lightning. Oh yeah. In the next one, the rain, like the mechanics of the level above right, like to the, yeah, the dream that they're incurring. That's just so cool. And then to think that they didn't CGI a lot of this stuff, I think the only thing they like CGI, it was the the buildings and all that stuff. But the gravity of the the hallway and the hotel room stuff like that, that was all like ropes. They think they even created. Yeah, they created a actual hallway that spins. And they put ropes on them and everything to make it more real. The bun on the page, they put her in a bun and they cut, they make sure everyone has short hair so that their hair wasn't like flipping around. So they made it, it made it even more real when they were doing all that stuff. And when they when when Arthur was tying him up and putting them in the whole hotel, that was so gangster. Yeah. So because the kick because they missed the kick, Arthur has to improvise while they're in grab while they're in whatever floating. I get to kick. Yeah. And for him to think that and tie him up and put him in the elevator and what like that whole sequence like the last like hour is just mind blowing. Yeah. Like how everything happens and they did such a good job of like going back to the van and like falling. You know, like come on. Come on. Like let's go. But they can draw it out because the mechanics of the dream is that five seconds in this dream is you know. couple days in this room. Yeah, I think in this room is 10 years in this time slows. It says it on there. It's something you can look it up and it's like for one minute is seven hours in the next one and you know for seven, you know, it says it on you can Google it and whatever, but when the van is falling, I'm just like man, that van is. It would have been thought it. This is fake, but it's it's crazy. It's like that for me was really cool. Him, you know, Nolan using all these actors again, like his his favorite character, his favorite actor. That's kind of cool too. Like, you know, Mao came out on Batman. Yeah. Art that came out on Batman. I think Michael Kane was in Michael Kane. Who was Tom Hardy as Bane? I don't know if DiCaprio did any other Nolan movie except for except for this one. Right. Not the top of my head. So, but it's like that's another thing that's like kind of cool for me is him bestowing the, you know, trusting them to to do his masterpiece, if you will, right? Let's just trusting these characters and these actors to to deliver. That's kind of cool. Yeah, yeah. What else about the movie? Did you like this? Just, you know, man, it's just it's so much just the character of DiCaprio and just I think just doing whatever it takes to just get back to his kids and even go into limb, like even as far as as far as so much as to go into limbo and thinking I may not come back. Right. You know, but I've got to because if he doesn't go and get sido, they need to go see his kids. Yeah, he's gonna be stuck on that plane. Right. Good. And so that that's another thing for me that's doing whatever it takes man. That's that's pretty cool. Some of my favorite things for me, I'm a big music head. I love soundtracks. Yeah. His Hans Zimmer. Yeah. He does so many good movies, you know, from Lion King, the original Lion King to Batman, to Superman, Inception. He's done a couple other Nolan Flix as well. But Hans Zimmer with that drop that bomb was so original that started so many that started a revolution in like trailer music. Yeah. Like everyone tried to emulate that for years. And they're still emulated today. They say, yeah, they're trying to bust your ear terms as soon as the movie starts. Let's do it. Yeah. As soon as the beginning hits and they hit syncopy Yeah. And then it hit like all of the things and you just get that. It's just like building like, what is happening here? Yeah. Um, behind them are he's amazing. And you can tell you like you can listen to the soundtrack and just know that he his array of style is vast. He does like fast stuff, slow stuff, builds. One of my favorite builds in all like soundtrack music is in this. Yeah. I can't remember. So it's right before Mumbasa, the song Mumbasa, it's like a series of numbers, which is the code that Fisher gave the way that they like hype up the violins like all the way up to his crazy crescendo. And then boom, that drop, like he's just so good. There's a there's a thing on the soundtrack that I mean, I don't these movie nerd buffs, right? That they say, they say city and chairs just a little bit. So they say how like in the soundtrack, if you go through the soundtrack, even the name of the song, it's like short names and then it gets longer and longer and longer. And then they get short again. The length of the songs on each one, the length of the of the song of the kick, the French song is two minutes and 28 seconds long. Yeah. I don't know. I don't know if there's just if it's just a coincidence, but the length of the actual movie is two hours and 28 minutes. Oh, that was purposely done. So there's no way that was. And then then that song that you're the bomb, bomb, bomb is a slowed down version of the French song with the kick. Like no, yeah, no one is a freaking genius man, Zimmer, like it's, you know, no one probably was like this song is pretty much the theme of the movie. And Hans Zimmer is like, okay, I can do something like that. And he brilliantly did it. Like how many directors actually go that deep and do stuff like that? Like I don't think there's many. I really don't think there's many. You've got to appreciate that. Like as a as a movie go where someone that likes to go see movies and just to that the director thought about things like that. Things that most people probably don't even care about. But you know, he probably also had so much more autonomy being the director and the writer. Like he wanted to have like whenever he's doing projects, he wants to do it the way he wants to do it. And I don't think that's necessarily like some people like, oh, that's just how I'm supposed to. Yeah, selfish or like, no, like that was his vision. That's his baby. Like, if he wrote it and he wants to direct it, he wants to give you what he wants without any with his little as outside changes as possible. And I don't think many directors do that. Or even writers go into the director sector. He was trying to like his movies are his babies and you can you can see that with every movie that he makes. Yeah. I think I think with the when he finally got the Caprio, I think they spent like two years together. But I think at no point, I'm sure the Caprio party was like, oh, what did we do? But I think at no point was was there ever of like, well, you should change this. And you, you know, so that the trust that the Caprio, such a big actor had on Nolan to deliver. I think no one doesn't really good with choosing cast as well. Like he can, he can take, I think he does have really, I think he works to find not well known actors and put some in who are very talented. You know, obviously, there's a lot of big names in this one. But in other movies, you can see that he's gotten actors and actresses that really don't have a big repertoire or a big resume who are absolutely brilliant in the movie. I mean, it's all you can even say that Nolan, the actors that he has an inception. I mean, I'll maybe put him on the map, you know, with them being a Batman, right? So. And then I think he even said that he regretted not giving the actor, say, a big role in the Batman because he was in the Batman movie. So I think he came out and said he regretted not giving say what his real name is a big role in the Batman. So that's probably why he gave him a pretty big role here in inception. He's the reason why cops, he's a good actor too. I mean, I'm like, I'm a lot like any role that he does. He's really good. So with Le, uh, Levit, Arthur. I think the last thing I remember him doing before Batman inception was angels in the outfield. So before all that before. Is that the number his dad wouldn't come home? No, that's the one where the that's the one where the angels are helping the team win and they're like carrying them to catch the ball. He's really team, right? Yeah, it's the angels. Yeah, I think that someone was like, I'm not like that. The dad leaves is like, I'm going to get milk and never comes back. I think I'm never coming back and let the angels win. Yeah, yeah, that's it. Okay. So yeah, there's so they're an orphanage and stuff. Yeah, right. But that's what a piece of shit. Yeah, don't even come back. You coming back with contingent on the angels winning the pennant. I'm going to go for the Yankees. Of course, there's a little boy like anything bad, but now going back as an adult like screw that guy. Yeah, screw that guy. F the angels. Yeah, pull holes. I hate you pull holes. You're the reason why the angels could never win in 2006 or whatever stand of the strobe. Yeah, man. So okay, another, so another theme that I really enjoyed in this movie and really I'm going to get into the weeds here is the themes that Nolan chooses for his movies. And he kind of has like a slow burn of that theme throughout the movie. And the one I picked up the most was guilt and regret. We talked about earlier how Cobb, you know, is filled with guilt. And that's a lot of his stuff contributed to why he can't architect dreams are going to his right because a lot of his guilt and regret creates a manifestation of characters in his life to perform in a malicious way. And we see another malicious. We see that through Mal. Yeah, right. So as the viewer were seeing Mal as his villain and it's not even essentially Mal herself, it is the guilt and regret manifestation of Mal that we're seeing that he has created his mind. And that's why I'm saying like to me, and that's probably another thing that I like, there's not really a villain in the movie except for his guilt. Right. So if you if you want to put a villain, it's it's a deal. Yeah. Damn you Cobb. Fucking Cobb. You're a fault. We were better off with Fisher running a conglomerate energy, corporation, enslaving us. But so you see that and it it really resonates because every time I watch a Nolan movie, especially when we were talking about inception or interstellar and even some degrees of tenant, I always leave that movie very introspective. And am I doing things right? Because when I let that movie, one of my biggest fears in life is growing old and being filled with regret and guilt. I can't imagine a worse nightmare. I think I think a lot of people, prior like that in some way, right? I would think so. Yeah, like thinking. that far ahead. - Why didn't I do this or, you know, - I'm like, "Oh, my dead, I do that." - Right, yeah, like. - So I get what you're saying where Nolan can kinda make you think twice about like, "He really engages my thoughts, like my thoughts." And that's why I love his movie so much, it's because like, it's not like you're watching, you know, Avengers, nothing wrong with the Avengers, but you're watching the Avengers for like a sheer entertainment for the visuals, the sound, the fighting, like you're watching on that. - I get all that with Nolan, but I leave Nolan's movies going, am I like, am I living right? - Yeah. - Which is profound. - Very, very much so. - He was doing an interview with James Cameron, the Titanic guy. - Another great, another great, another guy that takes 10 years. - And it shows. - Yeah, so he was talking to him, and he was talking to him, he was talking to Cameron about his dreams, his actual dreams, and that's how he came up with the idea of inception, 'cause he kept trying to like-- - The inception idea came from Cameron? - No, it came from Nolan, but he was explaining to Cameron how he came up with the idea. - Oh, gotcha. - I bet he was in college or something like that, and he was purposely trying to dream and remember his dreams, and then going back to try and change some of the, I mean, it's just-- - Do you, do you, do that? Do you try to remember dreams when you have them? - Of all the time. - Yeah. - So it's crazy is, right before you asked me to do this podcast, me and my wife were having dinner and-- - She was like, man, she was like, you woke up and you just, you were talking to your dreams, and I was like, and I don't ever remember any of my dreams. - What? - It's very rarely, like I can't remember stuff. So she's like, yeah, you were talking to your dream, I was like, really what? I said she was like, you screamed out spider, and you jumped. - And as soon as she said that, instantly remember what I dreamed. It gets crazy. I didn't remember, and she told me, I think the very next day about it, and I instantly remembered, like vividly, what I dreamed, it's crazy. I don't know, that was just kind of like, so I read somewhere or heard somewhere. It's probably BS, or it could be real, I'm not sure. - If it's on the internet, it's not BS. - It's on Facebook. - That if you wake up and before you move and do anything, that if you just lay there, awake and try to think about what you were dreaming about. You have more chances of remembering before you get up and move and go, than you would if you just got up and went. - Got it, yeah. - It's like trying to sit there, not even like to turn your head to grab your phone out. - Like as soon as you wake up. Like as soon as you wake up, open your eyes, and just like don't move, and just like think. - Yeah. - And so every time that, 'cause when I wake up, I can remember segments of like little dreams, and some will be really intense. And when I wake up with those images in my head, I purposely do not move. I purposely will sit there, I don't care what time it is. Like what I have to do, what deadline I have to meet, if I've got to be somewhere in a certain time, I will sit there and go, okay, 'cause like from a creative standpoint and things that like I'm trying to do outside of this, I always use like that imagery or that emotion that I was feeling for anything to use for my creativity. So this movie to me is, like it means so much more to me than probably like an average person of the complexities and the power of dreams. - Right, so. - Yeah, you appreciate that Nolan went out of his way to think of this, and just like here, here's the movie, enjoy instead of just like these movies that are whatever, he's like, oh, it was all right. For Nolan, it's like, man, this is baby. - Yeah, it's crazy. I have dream before and where it's like, you kind of remember stuff and you go back to sleep because you want to jump back into the dream that you were just in. - Right. - I don't know if you've ever done that, but I've done that a few times. - I haven't been able to go back. - You neither. - I thought you can tell me you could and you could have a superpower, you have to share with me. 'Cause you'll even, for me, I'll even have nightmares that are terrible. Like the worst fears you can think of as a dad or a husband. But, and I know that it's fake when I wake up that I'm like, I wanna go back there. Like even if it's terrible, like you witnessed your wife's death. Let me go back there, let me feel those feelings. Let me see what you can change something. - Not even change, but like experience something that you may not have to experience. And that might be like some sick twisted thing in my head, but the stuff I'm doing outside the podcast, I try to get those feelings. So those things can be more compelling when you're trying to propose an idea or something like that. Like to really feel those things, because not every day, are you gonna witness crazy tragic things or be haunted by some evil spirit or see some image that you were stuck in that was just so horrifying. All you wanted to do was run, but strange enough, you just wanna go back so you can experience the horror and the majesty of it. - 'Cause yeah, 'cause in this imagination. Like you said, you don't get those feelings all the time. So you oddly enough wanna experience some of those feelings sometimes, I guess. - Which is why Cobb always goes back. - Yeah. - Why Cobb always goes back to those dreams, right? He was trying to get back to the happy memories that he had. - To that feeling. - Yeah, it's good. - I've done a, I don't know if you've ever had, I mean, who doesn't get deja vu, right? - I get deja vu, right? - Yeah. - So it's like, where did this happen? Like, was it a dreamness? It's so weird, man. Do you ever get deja vu? And you know what they say? When you get deja vu, you gotta change something. 'Cause then-- - I've never heard that. - Yeah, so-- - You have to change it? - You have to kinda like, so like, let's say right now, we're like, I've got deja vu doing this podcast. Do some weird or like spill my water. So if it's something bad, if you don't change something, then something bad is gonna happen. - I don't know. - That's scary. - But that I never thought about that. Now you've planted that. - So now when you get deja vu, you gotta like, pick your nose or something. - As I do that. (laughing) - Um, okay, so I think we can go right into the ending of the movie and talk about the different theories. - How much time do we get? - Probably wrap it up in 10 minutes, I think, probably. - Yeah, I mean, just go as far as you think you do. So, where do you, what do you think it ends? What do you think? - So every time I watch the movie, and everyone else is coming out of the dream because they got what they needed. And then Cobb is the choice. Do I just go out with them or do I go deeper to get Sato? - Right. - Which is the beginning scene of the movie, are you here to kill me? And you know, when he says that, he's like, you know, old Sato is basically saying, - Was that lying the, or are you here to write the, or to, so that I may honor the arrangement? It's like that memory clicks. He's like, he remembers why he's there because he's so deep in these dreams that he's like, is losing his sanity. And then he remembers, and then the scene immediately changes to him on the plane. - Yeah. - And in my head, every time I watch it, I'm always suspended in this doubt that he is not in reality. Like, he is now just in a deeper level dream that he wants to stay in for the sake of staying with his kids or that he was not able to save Sato. And so he just kind of went back into a different dream or went deeper into a dream and decided to stay there because the arrangement wasn't gonna be honored. He didn't save Sato. So the best he was gonna get is stay in this dream and ride the possibility he might go and say in like, his wife, just so that he could be with his wife and kids one last time. So like, so when you're watching it, and you're seeing all the characters and they're kind of like, half-ignalizing each other, 'cause I probably don't wanna appear to, you know, if they were all in on it or whatever. - There's something illegal. - Yeah. - And then he gets home and he finally looks at his kids' faces and he twists the top and it cuts off 'cause you don't know. - Yeah. - You don't know if it's real or not. - So, I mean, there's multiple theories, right? - Yeah. - And we probably all see them. - So when he spins the top, he sees his kids, you know, you see this top spinning. So every time in the movie before that, when he spins the top, I think there was even a scene where he has a gun and he spins the top and he right away gets on the defense, puts the gun and he waits for the top to stop spinning. So once it stops spinning, puts the guns down. Okay, we're in reality. Every single time he spins it, he waits for it to stop or not. So in the end, he spins it, sees his kids, go straight for him, doesn't even turn back to see if the top stops spinning or not. To me, at that point, I think he doesn't even care if he's dreaming or not. All he cares about is that he's with his kids and this is the reality or dream or whatever that I wanna be in. - Right, right? - Now, so you were talking about the top. I have read and seen that in the dreams, when he spins the top, because he's so hyper focused in the dream that there's not really, so okay, let's go back. Everyone has their totem, right? The mechanic of the role of the movie is that everyone has their totem. And no one else can use the totem. Some people can told the totem, but Arthur says that I can't give you my die, you can't use it. And I think that left people to believe that the mechanic won't let you use it, but I don't think that that's what it meant. I think it was misinterpreted as, you're like, you can make a copy of it? Well, you can make a copy of it. or you can hold it, but I think what he was saying is that I can't give it to you because once you understand how my totem works, if we were to go into your dream world, you would mimic totem. Exactly. And I wouldn't be able to tell the difference. So that's why you can't use it. So he's using the top, which we find out that it was mouse. Right. So it's not even his totem. Right. So I mean, I've got another. So he's using that right. And because it's not his totem, the mechanics don't necessarily fall the same rules if it was his totem. So he's spinning, spinning the top and he's hyper-focused on it. And because he's in a dream world, he is able to manipulate or has some conscious control over this top because he's so infatuated with determining if he's in dream or reality. Him being so hyper-focused on it, being in a dream world where it will defy mechanics, that top will spin endlessly anyway. And the moment that he looks away, whether he is in a dream or not, the top could topple. So I don't think that that is the end all be all, even though no one has said that you can kind of see it playing off, right, right, right, right, right before it cuts black. So I don't think that that would be the true measure of whether he's in a dream or not. And it was reference that, and I don't understand this part that I'm getting into, but they were saying that his wedding ring might have been his totem and that, you know, I'm not sure how he used it to determine if he was dreaming or not. And every scene that was a dream, he had his wedding ring. But we never saw him do anything with the wedding ring that was off. Now, I'm not sure if they used that as an Easter egg to show the viewer that this is how we know he's in dream or if that was his totem. But if it was his totem, why wasn't it visible at any point in time while he was in reality? Like what purpose did the totem serve him? And so that's why I was like, is that really his totem now? Yeah, because they, I mean, Nolan, Nolan emphasizes that the top is mouse totem, right? So the whole art that thing where it's like, well, I can't let you touch it. And because then you replicated or whatever it is. So why would he emphasis? Why would Nolan emphasize that that smells totem, right? Right. So they never actually say what's what's Cobb's totem, right? And so you have to understand, but you would have to imagine that Mal and Cobb being so close that there might have been an exchange in totems or he picked it up or even in that dream world where he picked it up out of this safe that now he understands how that works. And he's able to manipulate that top in a dream world. Right. So whenever he spends it and he and it spends endlessly, it can spend endlessly because he can control. He can now replicate it in a dream. You can stop it if he wants, probably. Right. And so I think whenever he diverged from his attention from the top to his kids and that's when it began to fall, even if it fell, it still doesn't, it's, I still don't think it's an end-all say all that he's in reality. Right. Right. Because the top will do its thing. If he's not hyper-focused on it, the top will do its thing. And then do you see where I'm going? Yeah. Yeah. Yeah. It's but even though like people have come out and said like different things like, oh, I mean, it's, there are so many videos and stuff. Nolan actually comes out because of all the, you know, the unexplained or explain or whatever you want to call it. He comes out and says, oh, right, enough. This is what it is. You fool. That wasn't the point. Yeah. So it's funny. There's a, there's a video out there that says ending explained, right? And it's, it was screen ran. I think it was screen ran. And it says the very beginning of that hope, it's a, I mean, it's a freaking project. It's like pages long. So in the very beginning of that paragraph, it says Nolan comes out and says, the point of the movie is not whether he's dreaming or reality. The point of the movie is for you to understand your reality that you're in. And if that's the reality you want to be in or dream, whatever, then that's what it is. It doesn't matter what anybody else says or thinks. Your reality is the perception of things that you intake. Exactly. To respond. So it's funny in that, in that whole thing, it says that. And then they still come out with like all these, but he still stuck. Yeah. I think the whole point of it was not to get you to find out the answer. It was the answer that you wanted because the answer that you wanted for yourself is the same entitlement that Cobb has when he decides this is real or not. Yeah. Right. Like as the viewer, you're entitled to believe what you want because I don't tell you what's real or what's not right. It's the same entitlement that Leo has that he decides whether this is real or not. Right. Have you heard the Michael Cain theory? I have. Okay. Yeah. Where he says what did he? I think while he was reading the script writer, something he asked Nolan, where in my parts and my in my in reality and where am I in the dream? And I think Nolan tells Cain every time you come out in the movie, it's reality. And I think that's the defining I think so too. If he's coming out and saying that that's the defining thing, which would lead most viewers to say that this is actually reality. Right. And then even the the wedding band theory, you know, which makes a lot of sense. He doesn't have it in the plane. Right. And I don't know if they try to get a clear shot with him in the room with the kids, but you don't clearly see it. So it stated he didn't have it. Yeah. I think when he's putting the the top down, it's you know, it's on his left. When he's putting the top down, you can see it in it. He doesn't have it on. But you can see his left hand and he doesn't have it only spinning the top. I mean, there you go. If there's in the mechanics, that's it. My only question is is like, what more are you going to say? I'm sorry. No, I'm like, I'm with Nolan. Like I, when I, you know, it wasn't until you asked me about this podcast, where I was like, I dove more into it and I was like, you know, is it real or not? Before that, I didn't even care. Like all I cared about was that he got to see he got to go back with his kids. Yeah. You know, that's that's, but even in a way, and that could be because we're saying, and we don't have that technology, there's something haunting about the fact that he's still choosing to live in a world. Yeah. And he can't accept. Right. He can't accept the tragedy that happened in his life and he cannot move on. Yeah. Like there's something haunting about that. It is, man, it's it's pretty, uh, it's pretty crazy. Yeah. It's very heavy. Yeah. My only question is about the wedding ban is like, what purpose did it serve as a totem? I give everyone saying, and that's, and that's like me trying to debunk the theory that the wedding ring is a totem. Like, surely it's it's an, it's an easter egg for the viewer to see to make a connection that this is a difference between reality and dream. Yeah. I don't understand stretching the idea that that was his totem because maybe it was more for for Mal to see. Maybe it was more from, you know, because she would probably love him more, trust him more on her if she saw that he always had it. Or guilt. That he took it off. Right. Yeah. Yeah. Like he's like, if she, if she were to see him without it, because she's always coming in the dreams. Right. She would maybe be like, what's going on? What is this? Do you not want to be here with me? Yeah. Yeah. Yeah. Yeah. You know, who knows, man, it's that scripture for an old and for you, man. He's, yeah, freaking genius. I love the thought provoking endings. I know a lot of people don't like it because it's like, I need a definite answer. Yeah. But you know, the, the ending of a movie that leaves you deep in thought and leaves you to have inward thoughts about yourself and how you live is beautiful in itself. Yeah. It's, it's, it's, uh, it's far more better than the good guy wins, right? Right. You know, all the movies are like that. Like, oh, and the end, dude, you can go see a movie. I already know how it's going to end. Right. Right. Right. Yeah. So for Nolan to do this and kind of do that at the end, it was like, that's pretty cool. Make sure you want to go see it again. It's definitely rewatchable every single time because you might catch something. There was, I think that I caught the, the, you know, the multiple playters that I said, I didn't even notice that. Like even the whole beginning scene where he's talking to old old say, though, yeah, like I don't, I didn't even remember that scene. I didn't even go on. Oh, yeah. Oh, this is interesting. I didn't catch it the first time. Yeah. I didn't catch the hotel, the hotel rooms, the number of the hotel rooms are like his anniversary or no, was it the, the, and these, this is super crazy Easter eggs, right? The number of the cabs are the anniversary, the train that crashes into downtown is says the number 25, oh three years, something like that. The number of the hotel rooms is the same combination as the combination that Fisher gives. Yeah. I mean, just, like one, I, I was thinking when I watched a movie that, you know, maybe, maybe Mal was right about everything. You know, like, as you were saying before, when you were saying you weren't sure if Mal jumping off was, you know, yeah, was reality or dream because at the end of the day, you're watching, you're watching this movie through the perception of Cobb, right? And you don't really get Mal's, you know, objective story. You only get it through the emotions through Cobb. So, we have no idea that, I mean, Cobb could have went insane. Yeah. And Mal tried to get him out. And this was just another level of him doing it. And, you know, Cobb is living this tortured life where he's just trying to get back to his kids and Mal is seeing him and Mal is trying to get him out. And like, and they're still plugged in, right? Both still plugged in somewhere. Mal is like trying to do everything that she can. They get them out like you're torching yourself. I did this to get us out You you weren't listening and then you go back into these memories that you're not supposed to be going into like you're torching yourself Please wake up. Yeah, so I'm left with like maybe Mal was right in a sense, but I just imagine if 10 15 20 years down Nolan comes out and is like says that You be such a troll if he did that. I know I previously came out and stated that this is it But this is it and he runs away like near next crazy Goes and die of When you rate this movie Zero out of 10 zero out of 10 just doing okay So I won't I'm not gonna rate it as high because when you first when you watch the movie for the very first time It is confusing AF like it's just like What are they talking about? So if you just watch it one time It's probably like a seven six point five. I'll say about six point six Would you say that watching the movie the first time do you think it had so you watch the movie one time? Do you think it had any rewatch value? Oh, yeah Definitely bit did because you want to go back and watch it because you're like You're still a little confused. It's a what the heck is going on So after watching it again, you know you it goes overall like if I watch it a bunch of times and I know I understand it I know what's going on. I'm gonna give it about a 7.7. Let's go to 7 more 7. Yeah, I think that rewatch it value Should play into account. Yeah, I think so if it's somebody that doesn't like Watching movies over and over or they already watch it. I'm not gonna watch it again Then you're never gonna cat you're never gonna catch everything. You're not gonna understand the movie You're gonna watch it and be like oh, I don't know. It was just about dreams It's literally sci-fi din of thieves, but now I mean it's it highly recommended definitely watch it more than once for sure Yeah, 7.7 Star-studded cast Christopher Nolan Man, what else could you ask for? I don't know Another Nolan flick right Which we're gonna get we're gonna get Homer the the Odyssey. Yeah, which is gonna be pretty good. Yeah I give this movie so I'm very strict on my movies in my rooms for things I say that over and over again with that being said I give this movie a nine nine nine. I give it a nine Yeah, just as I'm what I purposely wanted to choose a movie that I thought really meant something to me because I don't want people thinking because I usually give like High sevens low eights for movies in the go and I don't particularly believe that there's a perfect movie There's something come close. I've got one perfect movie What is that back to the future we'll get into that later Ha I give it a nine the music to me was phenomenal The cast was phenomenal. Yeah Hmm the sequences in the movies the depth of emotions the depth and complexity of the mechanics that The theme of the movie the inception like going into dreams like upheld true There wasn't I didn't feel like there was any rule that was kind of like broken or bent the only thing I didn't understand was Shocking like the whole you know coming from the medical field and I was like the dude got shot in the chest and you just shocked him and he's magically back alive Not just that but he's he waited to shock him I think they needed time right but then again, oh, okay. I guess you could say right in that in that reality It's times going so slow. Maybe that's what it is. Yeah, cuz he he puts the the stuff on him But he doesn't shock him until a little bit after right For what seemed like eternity that's what I'm saying. Yeah, that would have meant like years years In that other level that I totally forgot they went to when I watched it. Oh man. They went a whole other level But he shocks him once and then he's up his back Which yeah, so who cares? Yeah, I don't get it maybe because that maybe because that shock So it lasted so long because of the depth of the dream they went to right that that's what saying that the time I had that much time to go back and get him right because he went so deep into levels to get him to get him back up and still ride that kick all Yeah, so that's that's cool the the when I was saying earlier about the shock You can see all the lightning in the background when they're shocking them. They did so good. Yeah, so good I give I give it a solid nine out of 10. Okay. Um one of my favorite movies. Yeah definitely top 10 easy. Yeah I remember when that but when it when it came out It hadn't been done before like that all the the buildings and just like the mind blowing stuff that was going on and you were like what the heck am I watching? They're definitely made you feel like you're gonna watch like even I thought it was gonna be watching something like the Matrix Yeah, even the the cover of the movie that the whenever you if you bought the Blu-ray or something like that have it Yeah, it's just the buildings that are going crazy and they're all like running and stuff Such a good flick. Yeah. Yeah, awesome. Anything else you want to get out about the movie now man I think you just go watch it watch it more than once watch it more than once for sure unless you're super genius and you just accept Nick you just get it one dollar movie I had to watch it over and over again was tenant and I still feel like I'm I have to have not seen tenant so I have not I if you thought inception was hard to get a tenant It's crazy. It uses time and what it appears to be like a you. It's just it's so so that's why it's hard to make a movie about time So hard to make a like to make a good movie about time and that's why I think back to the features the perfect movie but I just want to stress the importance of like music scores and movies every time that I hear the song time From that album from that soundtrack. Yeah, I cry really I cry. I'm gonna have to go listen to it Yeah, cuz it plays right right there at the end when he's walking into the house and seeing his kids and like Having that and just being in that moment knowing that that moment's not gonna last forever that I'm gonna die They're gonna get old and die my wife's gonna die like it's always just about like seizing the freaking moment I feel like that to me Is why that movie rate so high is like it's not I didn't just watch Lord of the Rings where I just got like this crazy story That was invested with these characters like this made me go home. Yeah, it was like I need to capture every single moment and live my life So at the end of the road. I am not filled with you get I'm not filled with guilt and that to me is so profound I was just it really if a movie can do that make you think something and apply something in your life You can even put a measure of value At least to me like that's how much that that movie hit me so every time I listen to the song time I'm just like yeah, I get too much alike when it comes on Sometimes I'll I'll click next yeah knowing that it's an amazing Timeless piece unless you need a good cry. Yeah, sometimes yeah, but yeah, everything one time I get emotional Yeah, and I need like 20 minutes to calm down like I'll need to put some I need to put something stupid on like yeah Like a stupid comedy. Yeah, that's just terrible Like I think you should leave or I think it's time you know that Netflix. Yeah, yeah I need to watch something like that to get out because like it puts me in a fun dude in the best ways. No, yeah, I get it Awesome. Thank you for coming. Bye. No, thanks you for inviting me on again, man. It's just a lot of fun. Always a good time Don't forget to like and subscribe. That's right cuz I so hit that follow button the little doorbell Cuz I won't say it. He knows it. I'll say it for