#Inception

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Inception (2010), dir. Christopher Nolan

“The way the end of that film worked, Leonardo DiCaprio’s character, Cobb – he was off with his kids, he was in his own subjective reality. He didn’t really care any more, and that makes a statement: perhaps, all levels of reality are valid.” 

Inception
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Another elaborate set is a hotel bar where gravity suddenly shifts and the weather outside undergoes a sudden, dramatic change. Corbould [Chris, special-effects supervisor] and his crew built the entire set to tilt 30 degrees. The set windows looked out on greenscreens that would be replaced with vistas in post. To effect the lighting change, Pfister’s crew wired all fixtures to a dimmer board. The scene’s initial lighting required a sunset feel, so Molebeams were gelled with 21⁄2 CTS. As that light dimmed, 60’-long softboxes filled with Maxi-Brutes and covered with Grid Cloth were brought up to create overcast light. “That’s one scene where the camerawork and lighting become surreal, but it’s all part of the storyline,” says Pfister. “It’s still a naturalistic approach in that every source is motivated. What’s very unusual is the way it changes. Combined with the set tilting, it creates a very unsettling sensation.” — Dream Thieves, American Cinematographer

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