There’s a lot going on in Christopher Nolan’s (wonderful) Inception. One of those things: Cillian Murphy’s Robert Fischer. If you’ve seen the film by now then you already know how truly sympathetic Robert Fischer is. In fact, he’s arguably more sympathetic than the main character, Cobb. Cobb’s problems come from his own undoing while Fischer’s come from his father. Ironically, Fischer and Cobb are extremely similar. They are both looking for catharsis and to let go of someone from the past. The closings to the arcs are parallels. They both, arguably, go through the same change.
Fischer raises a big ethical question that really isn’t delved into the film all too much: isn’t Cobb going to ruin a man’s life to save his own? His whole team seems cool with that, oddly. But then again, Cobb is never truly played as a “likable” type of guy. He’s selfish in more ways than one. Fischer is the one that comes out looking good through this whole ordeal, not Cobb.
I got plenty of time to speak to Mr. Murphy recently about this as well as throwing possible theories his way.
(Note: This interview is filled with spoilers (for Inception and Sunshine (but mostly just Inception)))
To start off, when you got the script were you surprised that Fischer wasn’t the typical, slimy boss’s son?
Yeah. First of all, when I got the script it took me several readings to wrangle it into any type of discernible shape. I was wondering if I was intellectually up to this. You know, Chris is such a great writer that I suppose Robert is in the vernacular of a heist movie as the mark. That role wouldn’t generally offer as much complexity as I think that this one does. So, yes, I was surprised. There was some meat on the bone to get sucked into it. I think in terms of the character, obviously Cobb’s emotional journey is primary, but the emotional arc of Fischer is sort of the secondary kind of narrative.
Do you see Cobb and Fischer as parallel characters? In terms of their arcs, they go through a similar type of catharsis.
Yeah, I think certainly when we spoke about it during rehearsal it became clear that for this to matter Robert really had to go through something. Even though it’s all a con and a setup, it really needed to matter. So yeah, I guess there is some type of crossover.
Since Fischer does become so sympathetic did you ever think he could possibly make Cobb and his team look bad? They’re going to ruin his business and possibly damage his future.
Perhaps. I think what’s great about this script and the film is that it doesn’t adhere to the traditional type of “good guy vs. bad guy” thing. Everybody has got a link and a chain to their character. Leo’s character is a criminal and my character is a rich kid who has feelings of misery. He’s got an emotional depth to him. I think, because of that, it’s okay because every character has a bit of ambiguity to them.
Even though Fischer is going to lose everything he has, wouldn’t you say what he gains at the end is more important?
Sure, even though it’s phony [Laughs]. That’s the wonderful thing, again, that you’re very curious to follow these characters after the fact to see how this whole adventure will affect their lives. It would be very interesting to see what Fischer is doing and whether it improves his life or if it makes him a better person. It’d be interesting to see.
Do you consider what he gets in the end as something phony? Or do you consider the change he goes through as something real?
I think, yeah. It’s definitely a real change, I would imagine. We’re talking literally, but because they go so deep into his sub-conscious right down to the most fundamental thing driving him as a human being, and to alter that is definitely going to affect him profoundly.
Are you surprised that Chris keeps making you play characters with terrible childhoods?
[Laughs] I think it’s more surprising he keeps asking me to put a bag over my head in every film. That seems to be the pattern. I actually didn’t think of that, but I assume you’re referring to Crane?
It seemed to be implied in Batman Begins he had a bad childhood.
Yeah, we did talk about that when we were coming up with the character of Crane. He probably suffered terribly at the hands of bullies because he was very physically inadequate. We didn’t go into it at any great depth, but I think the thing with Fischer is that his father-son relationship is obviously a very complicated one. It’s made more complicated by the fact that his father is such a huge influential person. I’m the father of two sons myself and have a relationship with my own father and it’s very curious to explore that.
How I tried to play him was as a spoiled kid. A kid who’s got everything he wants materially, but all he wants really is the attention of his father. That’s where we began with the character. I don’t think he has anything else in common though with Jonathan Crane [Laughs].
Fischer’s arc reminds me of Citizen Kane a bit.
Wow.
I mean in a sense, even at the end when he holds the windmill and that’s very Citizen Kane-like.
Yeah. Yeah. I can see that. I’ll let you draw comparisons [Laughs].
Character wise, there’s some similarities.
Sure. I can see that. Again, I think it’s kind of a universal story that one about father’s attention, not getting it, being crippled inside, and all of that stuff.
What do you think of Fischer’s name? Bare with me for a second, but shortened it’s Bobby Fischer and Adriane’s totem is a chess piece. Did you notice that?
[Laughs] I didn’t, to be completely honest with you. You know what’s fascinating? As the film has come out and as people have been seeing it they’re taking it to the heart and some are seeing it several times. I have had so many different theories thrown at me, and so many different positions and it’s fascinating.
You know, Chris really doesn’t go into the symbolism of things when he’s directing you and when he’s talking about the script he talks about the emotion of the character and where you are in the scene. I think that all the other stuff… Cobb is obviously the same name as the main character from his first movie The Following, but if you look at that film there’s a scene where they break into an apartment and there’s a big batman logo there. That was clearly an accident and accidents happen often. It was years before he even made that film. His films do sort of self-reference themselves and that’s interesting. But that’s a longwinded way of saying ‘no’ [Laughs].
[Laughs] So, it’s just a coincidence?
I would imagine so. Again, I did ask Chris about the name of the character and he did kind of illuminate me. It’s not a big deal for him that symbolism and he doesn’t go into it. That’s what’s great about his films is that there’s so much there for the audience to read into in anyway they want.
Speaking of reading into things, what’s your interpretation of the ending?
[Laughs] I have been asked this again and I am going to remain on-the-fence firmly. You know, I never asked Chris and I don’t want to know from him. I think it’s much more exciting not knowing. I’m sure certain people will have definitive opinions on it, but for me, I much prefer not to know. I’ve seen the movie three times now and I feel differently about it each time. So, that’s all I’m saying.
Let me ask you this then, do you think whether or not it’s a dream for Cobb even matters? He still gets the catharsis he needs.
That’s an interesting question. You know, my character goes through a catharsis all be it through a dream from a huge setup. I don’t know, I find the thing about dreaming is that you tend to work stuff out as kind of a repair of the psyche. Sometimes, you go to bed having a lot on your mind and then when you have these dreams you can sort of wake up feeling better about things. So, it’s an interesting question. It’s an interesting question, but again, I’m going to leave it ambiguous.
I will say though, no matter if it’s a dream or not it’s still a happy ending for Cobb.
I think so. I think so.
Did you ever ask Chris how he came up with the ending and that final shot?
No, man, I really believe in not knowing the magic of these things. I don’t know if the top happened to spin like that on that day or if it was something he had right from the beginning. It’s sort of a masterful end to the movie. On the three occasions I’ve seen the movie when that scene comes up there’s a collective gasp in the theater. For that to happen after watching the film and that shows how involved the audience is and that’s amazing. Also, every time I watch it affects me physically. My whole body tenses up. It’s not just from the agony of watching myself up on screen, but it’s from the actual experience of the film. It’s just such a tense experience. You find that you’re sitting in a really uncomfortable experience and you’re clenching a lot [Laughs].
I know how said you don’t like to ask about the intentions behind certain things, but do you and Chris ever talk about the themes he keeps revisiting? Most of his protagonists deal heavily with the ideas of control and obsession.
Yeah, I know that. Again, I haven’t. That’s something more of journalist, critics, or cinephiles tend to be interested about. I just think that they’re themes he’s interested in and there’s a lot of scope for drama in those themes. I think you can see that in his films they do investigate similar sort of areas. They’re all very, very different.
You mentioned before how there is no clear villain or hero, similar to a few of Nolan’s films, but do you see Cobb as sort of his own antagonist? He is a part of his own undoing, in a way.
Yeah, he is. That’s a very interesting take on it. He’s kind of like a guy; he’s an addict. He’s addicted to this alternate reality and his problems are his own fault, in a way.
I love that scene where Cobb goes into that basement and sees all those unsettling people dreaming. He’s just like them.
Totally. Yeah, it’s fascinating that idea.
I saw someone ask you in an interview if you see the dreams as a metaphor for acting, do you remember that?
I don’t…
I was going to say, and many have said this, but it’s kind of a metaphor for filmmaking itself.
I think so. I think the filmmaking one is probably more accurate. I don’t think it’s specifically about acting, but there’s a lot that’s like allegories for filmmaking. The way they’re creating sets of infinite possibilities and letting your imagination create a world of all these things. You do that when you dream and you do that as a filmmaker as well.
Even the ensemble itself could be tied to filmmaking. Cobb is obviously the director and Saito is the money guy.
[Laughs] Yeah, well then what would Fischer be I wonder?
He’s the audience.
Aha, what would Adriane be then?
She would be the production designer.
[Laughs] Cool. That’s cool. I like that. I’d go with that one, definitely.
What’s this process of talking about the film been like for you? I mean, I’m obviously giving you my interpretations and I’m sure you’ve already heard countless others so far.
Oh, I love it. To be honest, it’s just gotten more and more. I’ve had my friends call or text me who’ve gone to see the movie two or three times and have all these theories about it. I just think it’s brilliant. This has been said many, many times, but given the current climate I’d say people were starving for something stimulating cerebrally and viscerally. I think this really shows that you don’t have to do everything in 3D. It’s not essential and I really like Chris’s attitude to that as well. He just does it the way he wants to and he feels that the audience will appreciate it for that.
The film also works so well because you could enjoy it as totally different things. You can enjoy it as a thought provoking experience or even just as a summer action movie.
Totally.
You’ve watched it different ways, though?
You know, I’ve seen the film three times and have had different experiences. For me, just watching the other performances was fantastic. That’s the beauty of being in an ensemble is that there’s so much stuff you’re not in and you can relax and watch them do their brilliant work. And then [the second time], it was really piecing together the rules of the arena. The last time, I just watched it completely for the ride and experience it without questioning it too much.
It’s easy to do that too. The story is actually pretty simplified where you can sort of relax without thinking about every single detail.
I don’t think so either. For me, for the first two viewing experiences it was sort of me trying to figure out who’s dream we’re in and who exactly was the architect, who was the subject, and whose projections were whose. A lot of the film I have to be mildly bewildered.
Have you ever had this type of experience with any other films? Where people constantly come up to you with interpretations or where you keep forming your own?
No, I don’t. This is has been kind of unique in that way. Every film is different and every film people respond to differently. Sometimes they don’t respond at all [Laughs]. This is certainly unique. As we all traveled around from London to Paris and to LA we were all kind of amazed by the level of passion about it. People were really excited about it and there were some really profound and deep questions being asked and that’s not common. It has been a very unique experience.
There are a few scenes of yours I want ask specifically about your approach to. First, the scene in the bar where Fischer realizes he’s in a dream. You easily could’ve acted hysterical during that moment, but you act really restrained where you could still feel his confusion and that he was scared.
It’s funny that you should bring up that moment because that was my first scene in the movie [Laughs]. I sort of walked up having to act opposite of Leonardo DiCaprio on a set that turns [Laughs]. A lot of that fear is probably for real. In all seriousness, it’s just Chris. It’s how Chris can direct actors and how he knows the level of actors. If you look at most of his films everything is kind of underplayed and there’s very little hysteria in his films. That’s the sort of performance he likes. Even in the Batman movies, well the Joker is a different type of animal entirely, but you know what I mean? It’s all based in reality. I think Chris’s thing is to generally just go through the truth and honesty of it.
That’s also probably why the dream sequences work so well. He bases them in a reality rather than going crazy with them.
Yeah absolutely. In that scene for example how I perceive that I’m dreaming is done so subtlety like the water in the glass and the room tilting like that. It’s beautifully done.
When you get to the third dream level, in the snowy mountains, Fischer easily could’ve gone all, “I got this,” but you still played onto his hesitation. How’d you approach that? Keeping him still slightly hesitant?
At that stage he kind of feels like he’s been accepted to the team. I was very keen on that so I said to Chris, “He’s gotta have a gun. He would’ve graduated to having a gun,” because at this point he thinks he’s in Tom Berenger’s character’s dream. That’s another part of the con so now I feel like I’ve graduated to the team by being in Browning’s sub-conscious. Again, it’s just another part of the con. I enjoy that sequence because he feels as if he’s accepted.
What about the final moment with Fischer’s father? You gotta be careful in scenes like that because you can easily slip into over-sentimentality.
Again, I’ll refer this to Chris because he’s such a brilliant director of actors. I was very lucky to have Pete Postlethwaite as my dad. When you’re working with an actor of that caliber it really just raises your game and you really feel the moment between you. I was lucky to work with him, because I’ve loved his work for many years and I think he gave us the most heartbreaking onscreen ever in In The Name of the Father. It was just really working on hard with him and Chris just doing his thing. Doing his genius filmmaker thing [Laughs].
You can’t say that about most filmmakers I’d imagine.
Nope, not really. Not really.
My final question, about a year ago I talked to Rose Byrne, who’s extremely nice.
She’s brilliant.
But I regret not asking her about the final act of Sunshine. There’s a bit of a split about it, do you know what I’m referring to?
Whew.
And just to clarify, I think it’s a great film.
I’m very proud of that movie too. I never had a problem with the third act of the movie. I think it’s amazing that they fly into the sun [Laughs].
It’s a beautiful moment.
Yeah, I find it very moving. Myself and Rose spent a lot of time on top of a bomb. It was great to work with her because she’s a brilliant actress. I also thought Mark Strong was amazing in that as well. He had fun with a lot of hours in the makeup chair.
I think that movie works so well because Boyle really got what made those films like Solaris and 2001: A Space Odyssey great.
Yeah, again, I feel privileged to work with Danny a couple of times as well. You just have to learn from these guys. They’re amazing. When you have a director that has such a confident vision like both of those guys all you have to do is show up and say the words in the right order.
So you’re still learning with every project?
You got to, man. I know it’s a cliché, but it’s the truth. It’s about moving forward. We’re talking about Inception and it’s so exciting, but I finished that movie a year ago. You got to keep moving forward. I feel like I have a lot more to prove to myself as an actor.
Inception is now in theaters.
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Interview: Discussing "Inception" Theories With Cillian Murphy
Joss Whedon explains why he chose Jeremy Renner and Mark Ruffalo
Sure the big Marvel announcement came yesterday at the Marvel Studios panel, but we just can’t stop obsessing about Joss Whedon and the fact that he has assembled such a mind-blowingly amazing cast for “The Avengers.”
When we caught up with the man of the week/hour/con, we asked Whedon why his two newest additions: Jeremy Renner and Mark Ruffalo are perfect for Hawkeye and Hulk, respectively.
“The thing about Hawkeye, he’s got his bows and arrows, you need somebody who’s very very down to earth, who’s very grounded, and who’s going to be the kind of guy who, you see him, and you understand why he likes to be far away from things and then shoot at them,” Whedon said, adding that without the right actor in the role things could get “very silly” if handled incorrectly. “[With] Jeremy, he just has a lovely quality.”
With regard to Ruffalo, Whedon says the celebrated actor was his “first and only choice for Bruce Banner.”
“I’m stunned that we landed that, just stunned," he said. "He has what I remember loving about the show, that quality of, you just look at him and you go through it with him, he invites you in in a way that [no] other performer has since Bill Bixby. He is a guy who’s been beaten up by life, but not defined by that. That’s what I want from Bruce Banner, is a guy who’s still getting it done, even though he has his problem.”
Ryan Reynolds: Give me more superhero movies!
With upcoming turns in 'Green Lantern' and 'Deadpool,' Reynolds doesn't think he's latched on to too many comic book properties just yet.
Many aspiring actors work through their entire careers without ever once diving into the superhero pool — which is why it's particularly unusual that actor Ryan Reynolds is playing superheroes in two upcoming films.
Reynolds is currently in the midst of wrapping up filming on "Green Lantern," director Martin Campbell's adaptation of the beloved DC Comics icon. But despite his upcoming appearance as the brave star-spanning Hal Jordan, Reynolds is equally well known for his brief but memorable turn as mutant mercenary Wade Wilson in "X-Men Origins: Wolverine." Little more than a cameo, Reynolds' work as Wade is set to expand in a planned "Deadpool" spin-off film from 20th Century Fox.
Given the two roles — polar opposite though they may be — one could make the assumption that Reynolds is getting a little bit greedy when it comes to the superhero genre. But when MTV News pointed out that notion to the actor at last week's Comic-Con in San Diego, Reynolds was quick to get on the defensive.
"First off, Deadpool is not a superhero and he would stab you in the thorax if he heard you say that," Reynolds said, adding with a laugh, "I don't think I've ever said anything geekier than that in my entire life."
Reynolds' second line of defense was a bit more practical. "I've only played Deadpool for four and a half minutes thus far," he said, acknowledging that the character's spin-off movie is currently in the planning stage. "When we're talking down the line and we're talking about the 'Deadpool' movie, at that point you can call me a greedy bastard."
For now, Reynolds is more than content playing the ace fighter pilot turned superhero in "Green Lantern" — and even off-camera, the actor is nothing short of a hero for his young fans, thanks to his decision to recite the "Green Lantern" oath for a young fan at Comic-Con.
Inception, effects-fests and the big-budget unreality curse
Are the massive sums doled out for blockbusters really creative boon for gifted directors such as Christopher Nolan?
It may be one of the summer's darker ironies that, as government ministers vie to find out quite how little can be spent on the nation's health and education, the film industry has reached the point in the year when it's filling our cinemas with movies made for the GDPs of small nations (or, these days, large ones).
Yes, it's the season of those mega-budget, hundred-million-dollar-plus behemoths which prove that, while it keeps getting harder to make films outside the studio system, those within it are are still being given gargantuan funds to boggle and amaze us (and keep us buying those 3D glasses).
And as with any unequal distribution of wealth, awkward questions follow – such as whether having huge sums at their fingertips is actually good for film-makers, or whether they're the right people to have it in the first place. The thing about the kind of grandiose spectacle the biggest budgets buy you is that, CGI or otherwise, it all starts to look the same.
Not literally, of course – even I can tell the difference between Narnia and Pandora. But the set-pieces of the most extravagant blockbusters always seem to share a certain sheeny sensibility so that, however expensive, they never look real. In such circumstances, true creativity is all too often sacrificed for size.
Predictably, I can't help thinking of Inception here – a film in which the $160m budget goes on a smorgasbord of ornate, effects-heavy money shots. Yet impressive as all the dreamscape malarkey is, I left Inception convinced that the best vehicle for Christopher Nolan's talents remains something like Memento – one simple great idea spun out into a terrific, taut, modern thriller. For all the recent hullaballoo, Nolan still feels like a lost maker of brilliant B-movies, with studio largesse inflating his "vision" beyond its natural limits – a phenomenon that has also afflicted Peter Jackson and Sam Raimi.
None of which is to deny the charm of sheer, vast, gleefully ridiculous spectacle, or to imply that anything made for pocket change is intrinsically wonderful; Lord knows I've seen enough films to disprove both sides of that equation. But it's also true that, once the budget starts to climb into nine figures, displaying it onscreen becomes a perversely dreary end in itself – so that rather than allowing a director to show the world the wonders inside his or her head, the game becomes to find ways of visibly splashing the cash just to heighten the sense of the movie as an event. (At this point, it seems apposite to mention that the most expensive film of all time is Pirates of the Caribbean 3: At World's End.)
There are two connected problems here. One is the inevitable committee interference a giant budget brings with it, with the pressure of a carrying studio's entire future likely to stifle even the most gifted film-maker. Not that the most gifted film-makers are often involved here, which is the second problem. The industry's catch-22 is that there is a small army of directors whose wildly individual films mean they will never be trusted with a big budget despite them having exactly the kinds of imagination that deserve one.
After the demented swagger of Valhalla Rising, I'd certainly be intrigued (and shocked) to see Denmark's Nicolas Winding Refn making merry with Michael Bay-style sums. But for me, if there's one film-maker who should be granted at least one go with the serious money, it's David Cronenberg. Apart from the cracked brilliance of his work, it was his fine 1999 techno-drama Existenz that lodged persistently in my head throughout and after my viewing of Inception. I'd urge any Nolan fans to seek it out. And who knows – if enough of you do, he may get $160m to play with ...
Reference: guardian
Kellan Lutz talks about his competitor, Henry Cavill
He calls Henry "that boy".
The two hotties will face off against one another in the upcoming "Immortals" (formerly known as "Gods of War"), and when we caught up with "Twilight" hunk recently, we had to ask him who would win in a fight: Kellan's Greek God of the sea or Henry's Titan Theseus?
"Well, I play Poseidon so I have that godly aspect," Kellan said. "But Henry's a strong kid. It was really fun working with him and seeing him train because he went through months and months of training. I wish I could have a movie where was able to do that because he went through some intense stuff. He's a buff kid."
The upcoming film, which also stars Frieda Pinto and Isabel Lucas, is directed by "The Fall"'s unique visionary, Tarsem Singh. It is slated for release in November 2011.
Casey Affleck Sued for Sexual Harassment
One of the producers on the Joaquin Phoenix documentary Casey Affleck directed last year is suing him for $2 million claiming sexual harassment, E!Online reports. Amanda White filed her lawsuit early Friday in Los Angeles Superior Court.
White alleges that in addition to enduring "uninvited and unwelcome sexual advances in the workplace" throughout the making of 'I'm Still Here: The Lost Year of Joaquin Phoenix,' she also wasn't paid for her work as a producer.
"Affleck repeatedly referred to women as 'cows'; he discussed his sexual exploits and those of other celebrities that he allegedly witnessed; and asked [White], after learning her age, 'Isn't it about time you get pregnant?'" the suit states.
The producer also claims that while the group was filming in Costa Rica, she wasn't able to go to her room one night because Affleck and Phoenix were in it with two women.
Affleck's lawyer, Michael J. Plonsker, quickly shot back at the allegations, calling them "preposterous and without merit."
In a statement to PopEater and other outlets, Plonsker explains their side of the story: "Ms. White was terminated from the production over a year ago. She and her lawyers believe that this maliciously and erroneously filed complaint will cause the producers to succumb to her outrageous and baseless demands. She is mistaken."
The actor intends to file cross-claims against White as well.
When the crew was filming in San Francisco, White alleges Affleck attempted to get her to spend the night with him in his hotel room. After she said no, the lawsuit claims he "became hostile and aggressive" and "violently grabbed her arm in an effort to intimidate her into staying."
Affleck is married to Phoenix's sister, Summer, and has two children.
White is asking for at least $2 million in damages to cover sexual harassment, retaliation, failure to prevent harassment/retaliation, constructive discharge in violation of public policy, breach of oral contract, unjust enrichment, and negligent and intentional infliction of emotional distress.
Guinness : Saw is the 'most successful horror series' ever
Serial killer franchise Saw has been named the most successful horror movie series by the Guinness World Records.
"I'm still in shock," Burg told Reuters. "The fact that we beat out (such horror franchises as) 'Friday the 13th,' 'Nightmare on Elm Street,' 'Halloween' and 'Texas Chain Saw Massacre' is a testament to our cast, crew and our partners at Lionsgate."
The six Saw films, in which victims try to escape elaborate traps set by the "jigsaw killer", have made a total of $733m at the box office.
Guinness World Records editor Craig Glenday will present the award on Friday.
Saw made its debut in 2004, and a new film has been released for Halloween every year since.
The seventh and final instalment, which will be shown in 3D, is due out on 29 October.
"We are done; this is it. We don't want to be that boxer who fought one too many fights," Burg said.
"In every Saw movie, we left questions open and in this movie we answer every question the audience has ever had."
Although other horror films have spawned more sequels - there are 12 films based on Friday the 13th and nine for Nightmare On Elm Street - Saw has proved the biggest box office draw.
The Guinness prize will be handed over to the films' producers at the Comic-Con conference in San Diego.
Joseph Gordon-Levitt in a Giant Plastic Ball
"Inception" star Joseph Gordon-Levitt rolls down 53rd Street during a taping of the "Late Show with David Letterman" on July 14, 2010.
Sex offender violated probation at ‘Toy Story 3’
A 46-year-old convicted child sex offender who violated his probation by taking his family to see "Toy Story 3" at a Livingston County theater has been ordered to serve 90 days’ house arrest.
Michael Keeler of Gregory also was ordered to pay $125 a month toward more than $4,000 in outstanding court fees.
Keeler’s probation prohibits him from being within 1,000 feet of "places primarily used by people age 17 or under." An electronic tether confirmed he was in the theater.
Keeler was sentenced in May 2008 to serve five years’ probation after being convicted of second-degree criminal sexual conduct involving a person under 13.
Defense attorney Douglas Mullkoff tells the Livingston County Daily Press & Argus that Keeler had completed a sex offender’s education program.
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