Memory can change the shape of a room; it can change the color of a car. And memories can be distorted. They're just an interpretation, they're not a record, and they're irrelevant if you have the facts. (Leonard Shelby, Memento)
Christopher NolanI always thought the joy of reading a book is not knowing what happens next. (Leonard Shelby, Memento)
Christopher NolanI have to believe that when my eyes are closed, the world's still there. (Leonard Shelby, Memento)
Christopher NolanYou musn't be afraid to dream a little bigger, darling.
Christopher NolanTags: dreams
ARTHUR: The only way to wake up from inside the dream is to die.
Christopher NolanARIADNE: Why are they looking at me?
COBB: Because you're changing things. My subconscious feels that someone else is creating the world. The more you change things, the quicker the projections converge on you.
ARIADNE: Converge?
COBB: They feel the foreign nature of the dreamer, and attack-like white blood cells fighting an infection.
ARIADNE: They're going to attack us?
COBB: Just you, actually.
COBB: What do you want from us?
SAITO: Inception.
Arthur raises his eyebrows. Cobb is poker-faced.
SAITO: Is it possible?
ARTHUR: Of course not.
SAITO: If you can steal an idea from someone's mind, why can't you plant one there instead?
ARTHUR: Okay, here's planting an idea: I say to you, "Don't think about elephants."
(Saito nods)
What are you thinking about?
SAITO: Elephants.
ARTHUR: Right. But it's not your idea because you know I gave it to you.
SAITO: You could plant it subconsciously-
ARTHUR: The subject's mind can always trace the genesis of the idea. True inspiration is impossible to fake.
COBB: No, it isn't.
SAITO: Can you do it?
COBB: I won't do it.
SAITO: In exchange, I'll give you the information you were paid to steal.
COBB: Are you giving me a choice? Because I can find my own way to square things with Cobol.
SAITO: Then you do have a choice.
COBB: And I choose to leave.
COBB: Our dreams feel real while we're in them. It's only when we wake we realize things were strange.
Ariadne gestures around them-
ARIADNE: But all the textures of real life-the stone, the fabric... cars... people... your mind can't create all this.
COBB: It does. Every time you dream. Let me ask you a question: You never remember the beginning of your dreams, do you? You just turn up in the middle of what's going on.
ARIADNE: I guess.
COBB: So... how did we end up at this restaurant?
EAMES: Word is, you're not welcome in these parts.
COBB: Yeah?
EAMES: There's a price on your head from Cobol Engineering. Pretty big one, actually.
COBB: You wouldn't sell me out.
Eames looks at Cobb, offended.
EAMES: 'Course I would.
COBB: (smiles) Not when you hear what I'm selling.
A ramshackle balcony overlooking a busy street. Eames pours.
COBB: Inception.
Eames' glass stops halfway to his mouth.
COBB: Don't bother telling me it's impossible.
EAMES: It's perfectly possible. Just bloody difficult.
COBB: That's what I keep saying to Arthur.
EAMES: Arthur? You're still working with that stick-in-the-mud?
COBB: He's a good point man.
EAMES: The best. But he has no imagination. If you're going to perform inception, you need imagination.
COBB: You've done it before?
EAMES: Yes and no. We tried it. Got the idea in place, but it didn't take.
COBB: You didn't plant it deep enough?
EAMES: It's not just about depth. You need the simplest version of the idea-the one that will grow naturally in the subject's mind. Subtle art.
SAITO: Care for a lift, Mr. Cobb?
COBB: (jumping in) What brings you to Mombasa, Mr. Saito?
SAITO: I have to protect my investment.
Eames stands on pavement. The car pulls up. Cobb beckons from the rear window. Eames looks at Saito. Back to Cobb.
EAMES: This your idea of losing a tail?
COBB: (shrugs) Different tail.
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