Why does cobb get chased

Under heavy sedation and with the time machine still in countdown, one needs to produce two synchronized kicks to return to the level above or one needs to synchronize the kick that person performs in Limbo with all kicks on the level above to the level 1 dream, then return to reality. Under normal sedation, just killing oneself or performing a kick on each level separately would do doesn't need to be synchronized since a slight disturbance can cause dreams to collapse.

The evidence is generally very weak in demonstrating that the "reality" present in the film is any different than the reality that we experience every day, and that is in the context of cinema and television in general, in that tales conveyed through motion pictures are comprised of distinct scenes that are usually edited together and contain gaps between them in a similar way as how the collection of dream segments in a single period of REM sleep play out to a dreamer.

That is to say, the events in Inception form no more of a dream than the events of any other "typical" flick. The arguments and counterarguments are as follows. Repeated lines of dialog shared amongst the characters: Mal and Saito both tell Cobb to take a "leap of faith", and Cobb predicts what Saito will say in limbo. However, coincidental and repeated lines are common in countless films without any reason to believe they are "all a dream.

In fact, "take a leap of faith" is a common and widespread expression, which Cobb tells Mal to convince her to suicide in Limbo. The other phrases were said during conversation between Saito and Cobb after he was shot and before they went to 2nd dream. The clumsiness of the homicide police investigation regarding Mal's case and put the blame on Cobb entirely.

We don't know all the circumstances surrounding the investigation, and bad investigations happen all the time, so this is hardly evidence for the whole film being a dream. The spinning top at the end of the film. The top is a totem used to help verify whether Cobb's in reality or in someone else's dream, but it offers no verification against being in his own dream.

He knows the exact weight, composition and how it should spin. So whether the top stops or continue spinning, it's not important as even when it stops, it could be that Cobb believes that he finally reunite with his family, hence his dream fully becomes his reality. It's true that if the whole film is a dream, the top wouldn't matter, but this is not evidence for the film being a dream.

You could say that about any behavior of any object in the whole movie. Also, Cobb tells Ariadne how it worked. Another possibility is that Ariadne was hired to seduce Cobb into telling her how it worked, and then trick him into looking at his children and forget to watch it until it stopped. In Mombasa, in the bathroom after he tests Yusuf's sedative, you see the figure of Mal behind the curtains, if he was in "reality" then his subconscious could not be projecting her.

Not projections. These were just memories. The curtains were not in Yusuf's bathroom-they are the same curtains as in the hotel room, Cobb was just remembering of her. Cobb's totem was not Mal's top, rather one could suggest that Mal was his reality check, his "real" totem. Yet throughout the movie he was directly or indirectly responsible for either killing her or imprisoning her, in essence losing his sense of reality and refusing to face up to the facts-which may be that he was indeed dreaming the whole time.

Cobb's totem was Mal's top. In no way was Mal his reality check-it is quite the opposite. The musical score that is heard, is the slowed down playhead of "Non, Je Ne Regrette Rien", which is the Edith Piaf song used for the musical countdown. The significance here is that the deeper you go into the dream, time slows, thus the music will slow too, mimicking the score.

This musical design perhaps indicates that Cobb's reality was still very much a dream state too. The music only slows down when listened to from a lower level, due to the time dilation at that level. Yes, the song was integrated into the score, but only as a theme.

Numerous improbable or coincidental events that happened during parts of "reality". Cobb is saved by Saito coincidentally during the chase between Cobol Engineering agents and him.

Saito has been tailing Cobb to protect his investment-not coincidental at all. Nearly the entire team is highly proficient with all types of weaponry, though certainly Cobb at least, does not appear to have had any particularized weapons training.

How does Ariadne know how to even fire a gun, much less hit anything? All appear to be highly capable in all sorts of militaristic tasks, from skiing, to explosives, to hand to hand combat, to sniping etc. They are in a dream world during all scenes involving weapon use.

Their real world weapon abilities would have no effect here. Like Eames was saying on level 1, "You need to learn to dream bigger", and then produces a grenade launcher. During the dream state, they have limited control over the experience, similar to The Matrix. This may be a continuity error, but when Arthur goes to get Cobb in Tokyo after the failed extraction of Saito, they leave the hotel room and go to the roof for the helicopter at night.

When they're on the roof, it's day. More counter-evidence: 1. The children are two years older in the last scene see cast list. The spinning top starts to wobble just as the movie ends, and also is heard to topple and scoot across the table after it cuts to black. Hinduism and Buddhism both share the idea that the world is "maya", or an illusion and that we are on a journey of "awakening from the dream". This has been taught by such Indian saints as Sri Ramana Maharishi and Maharishi Mahesh Yogi, who call it "Advaida", which means non-duality; the idea that all the universe is just one consciousness, connecting everything in it.

We act out our lives like a play shown onto a movie screen. But only those who achieve Nirvana a. According to the Advaida philosophy, it is only when we are in a state of deep sleep that we come close to the timeless, "true" state of being that is the universal consciousness, which all Nature is part of. When we wake up, in effect we are waking into a world that is illusory.

A separate movement believes in the specific idea that humanity is collectively dreaming a dream of guilt and separation, from which we need to wake up by practicing forgiveness. This is a metaphysic ideology given in "A Course in Miracles" and "The Way of Mastery", which are spiritual texts purportedly channelled from Jesus in the s and '90s respectively.

ACIM in particular has influenced most spiritual "new age" authors and commentators today. The wedding ring on Cobb's hand that's present in dreams but absent in the real world. To refute: This could be because in what Cobb sees as a dream, he wants Mal to still be alive and married to him keeps her alive in his memories , but in so-called reality, Cobb knows he's not married anymore and took it off.

It may, in fact, be his totem, so if Cobb took it off long ago he would not know that he wasn't in reality. While mourning his wife I doubt he would consciously check the weight. If "reality" is his dream, which Mal says in an argument while alive, his subconscious would recreate the weight anyway; totems only tell you when you're in someone else's head unless you know you're dreaming.

The kids at the end of the film are different and are older compared to the younger ones we've seen throughout the film. Their clothes are slightly different. The girl has a white shirt underneath her red dress and his son was wearing shoes instead of sandals at the end. This is the most solid evidence. Observe carefully. Also if he was dreaming, he would not be able to know what his children's faces would have looked like turning around and seeing him seeing as how he cannot change a memory.

He even said himself earlier in the film that no matter how hard he tried, he, "can't change this moment. The top. There's a significant difference between the top that keeps spinning flawlessly when he's in a dream and the top that's spinning at the end of the film which clearly wobbles, loses momentum and does sound like it is stopping.

It does wobble and lose momentum, strong signs, but it sounded not like it toppled but that the sound for the top cut out. See the FAQ entry concerning totems. Mal's top adds another layer of unreliability to determining whether the end is reality or dream, since everyone knows the nature of Mal's spinning top; not to mention it does not take any special knowledge to cause a spinning top to fall over in your dream-that's what tops do.

It is showed at the end that Cobb and Mal did grow old together for 50 years in Limbo with them walking the streets as old man and woman, two old hands hold together on the train tracks. The rules, technical aspects of performing the Extraction and Inception in the film. Cobb remembers exactly how he got to where he is, which he wouldn't know if he was dreaming.

But where was the car ride from the airport to home? Did he even think to try to remember? These aren't explicitly revealed. The emotional depth of the film. If the ending is real, it shows that Cobb does go on an emotional journey, to take a "leap of faith" to believe that Saito will honor their agreement so he could go home and see his kids and finally get over with his wife's death and guilt.

The scene where Cobb talks with old Saito is significant as it shows they've grown and become friends, as Cobb had said to him: "Come back and let's be young men together. This is hardly evidence to support it was reality. The important part to the ending is that it doesn't actually matter if the top fell or not-if it's reality or not. That is the resolution.

Cobb and Mal do not end up together. This could only be a factor of reality. If it were a dream, Cobb would have found a way of keeping Mal alive in the dream so that he could be with her. Cobb wouldn't want to do this because he states that his recreation of her in his dreams "isn't good enough" because it doesn't truly capture what she was in real life, with all her perfection and flaws.

In fact, Cobb never wanted to stay with her, he just created that projection to keep remembering her, as somebody who keeps all the time remembering of a dead loved one, but in this case he was doing that in a much "real-looking" way.

So, making them together would never work, as he kept rejecting her the whole movie. Every time this occurs, it's not cutting to another scene with in the "present" reality, but it "cuts to" either a higher or lower dream within the dream, or it "cuts to" reality. He's not a "happy ending" director, but he's optimistic about the future All scripts start with Fade In and end with Fade Out Alternatively, Nolan is showing that what we commonly believe to be reality exists during the film, and that Cobb is indeed in what we'd call "reality" at the end of the film.

But the spinning top is a clue from him-an inception to us, the audience-that our idea of "reality" may in itself be the projection of a dreaming mind, that collectively, we are all dreaming an outpictured "reality" full of projected figures. In the teaser trailer, the music used is a custom score from Sencit Music, composed by Mike Zarin website here.

The second trailer uses a variation of the same song. The longer theatrical trailer uses a track titled "Mind Heist", composed by Zack Hemsey website here. Contrary to popular belief, the music was not composed by Hans Zimmer, who composed the actual score for the film.

Near Calgary, Canada. The crew constructed the buildings in the third layer on the site of a former ski resort. The film doesn't say, but from earlier statements, Chris Nolan declared that the film is supposed to be contemporary. To many, the children appear to not have aged in the end scene.

IMDb cast credits show that two pairs of children were cast for the two different ages about two years apart. There are multiple memories, some of which show the younger children playing at the beach, others show the younger children playing in the yard throughout the film. The younger children also appear to run around a corner leading Cobb to Mal in the final Limbo. Certainly the children appear to be a similar age, and to be wearing similar clothing.

Repeat analysis shows that the clothing is similar at the end, though not the same. The children do look older. However, considering the power of the dreamer to alter the world of the dream, this is no guarantee that the children, if indeed they are projections, haven't just been changed by Cobb so that he will accept them as real.

Certainly the story is very clever in creating this ambiguity. Cobb is unable to see their faces in his memory of the yard to confirm they look younger the body shows they are smaller. Other theories have suggested that the reason for casting two sets of child actors were to have one set visible, while the other set only heard.

The voices of the children on the phone seem older than what would belong to the children playing. Since Fischer has been told that he is in a dream and is being protected by his subconscious projections, he could simply assume that Saito is one of these projections, or as he is shown to not be fully aware of the current affairs of his father's business, Fischer Jr.

Also, it takes special dream training to be able to remember what happened on a previous level of the dream, separate from the training Fischer received to guard his subconscious. Cobb smuggled the drug on-board and possibly didn't have time to brief the hostess on its use.

Also, even if the hostess gave Fischer spiked water, it was no guarantee that he would drink it immediately, which is why Cobb offers the drink to him and proposes a toast. Nolan acknowledges that it's not easy to follow: Right before the dreamers head down to Level 3, an exasperated Ariadne asks, "Wait -- whose subconscious are we going into? The opening sequence is Arthur's dream the villa inside Nash's dream the apartment. The training exercises follow a similar pattern: first the teacher Cobb in the cafe; Arthur on the Penrose staircase , then Ariadne in her own version of the same environment.

The main mission is Eames' dream the snow fort inside Arthur's dream the hotel inside Yusuf's dream the city. Limbo is apparently limbo; it doesn't belong to anyone, although Cobb can claim squatters' rights. One relatively easy way of keeping it straight is that the person whose dream it is stays behind in order to keep an eye on the place. Yusuf drives the van; Arthur fights the guard in the hotel; Eames sets the explosive charges.

Limbo is unconstructed i. It, like all levels of subconsciousness when hooked up to the machine, is a shared environment between the dreamers. The only thing there is anything created by a dreamer that has been down there before and is sharing the dream with you. Cobb and Saito share the dreams all the way until level 3 when Cobb goes down to Limbo but Saito doesn't. Then Saito dies and heads to Limbo. Cobb, who entered Limbo through the machine not via death now dies either in the hospital, elevator, van, or all three, it doesn't really matter.

Since Saito died before Cobb in level 3 many years have gone by for him, accounting for his age; the passage of time there is unpredictable, not at a nice proportion like the other levels. The concept of the infinite staircase Penrose stairs is used as a blueprint for the structure and form of the film and ultimately for its meaning. The fact that no definite conclusion can be given as to whether it's reality or a dream points that the entire movie is designed as one infinite staircase where the levels of the dream and reality are an analogy for the stairs in the infinite staircase.

It's similar to circling the Penrose stairs in a clockwise or counterclockwise direction that determines whether you are ascending or descending. The sedative lasts for ten hours, which gives the team a week on the first level. The van was supposed to deliver the kick at the end of this week, but when they discovered that they needed to move a lot faster because Fischer's mind was militarized this kick came 6 days too soon.

After getting kicked back to Yusuf's dream, they therefore needed to wait out those remaining 6 days before the sedative wore off and they woke up naturally. They no longer experience trouble from Fischer's subconscious because it doesn't attack until Fischer gets kidnapped.

One could assume that once the van hits the water, the others wait underneath in order to avoid being seen by Fischer, so Fischer assumes he is now safe, and in the real world. His subconscious would then back off and not cause them trouble. Firstly, we know that the effects of one level have stronger effects on its next level than any after, which is why Saito feels less pain from his gunshot wounds as he gets deeper.

Level 3 is therefore less likely to feel the effects of level 1. Secondly, the dreamers in level 1 specifically Arthur, as level 2 is Arthur's dream are feeling a drop which causes level 2 to lose gravity. However, the dreamers in level 2 specifically Eames, as level 3 is Eames' dream aren't feeling zero gravity, since they're experiencing a lack of gravity. It's the movement that affects the dreamer not the experience, and thus because the dreamers probably can't feel this weightlessness when they're asleep, it won't affect their dream.

The dream machine could be planted by the dreamers in each level. The device itself does not need to be duplicated, since it could exist as an idea or projection in the dream. For example, the dreamers probably do not understand the exact physics of their weapons but they have an innate understanding and conviction of their effects bullet piercing, injury, pain, etc.

With training and experience, a dreamer could develop a likewise understanding of the dream machine's properties in order for their subconscious to manage it while inside the dream. She knows she's in Limbo and she throws herself off the tall balcony after Fischer. She either dies on impact or dies in mid air bringing her back up to level 3 albeit only momentarily while the snow fortress is crumbling. They are personalized items that help dreamers distinguish between the real world and the dream world.

Like you said, he was just waiting. In the movie it's said that the whole dream sharing technology was created by military to use dreams to train soldiers. It's easier and safer to create all sorts of scenarios and situations for soldiers to train, and all outcomes vanish once they wake up. Somehow, not explained on the movie, Miles - Mal's father and Cobb's father in law - was involved and taught it to his daughter and Cobb who was his student.

Parallel to that they felt in love, married and had children. Away from Miles they kept experimenting, dreaming inside dreams, going deeper and deeper, until they found that "deeper world". They then went there and started creating stuff, remaining there for decades. Mal ended up liking it so much that she locked away and forgot the knowledge that it was a dream and then didn't wanna leave it, believing that was reality, while Cobb knew and wanted to go back, but obviously didn't wanna leave her behind.

He then discovered her lock and changed it from "this is reality" to "this is a dream and we need to suicide together to wake up". That made her accept to return, but kept her wanting to suicide with him, which made her plot the suicide and send the letter incriminating him. That made him suspect and he had to flee to not be arrested and leave his kids with their grandmother. Saito is shot on the first level of the dream, but dies on the third level and enters Limbo minutes before Ariadne leaves Limbo.

Therefore, there isn't enough time to find Saito and kick his consciousness back to level 3 for Eames to resuscitate him.

Even if they manage to resuscitate him on the third level, the kick on third level would bring him back to the second where he was still dying, and if he survived that, the kick on the second level would still bring him back to the first where he was dying the fastest anyway.

In the end, he still goes back to Limbo. Meanwhile, since Fischer was shot on the third level and sent to Limbo, his "bodies" on the other two levels were totally fine. Ariadne pushed him off the building in Limbo level 4 to provide him with a "kick" in conjunction with Eames using the defibrillator in level 3 to bring Fischer back to life in order to complete the mission.

If she had just shot him again down in Limbo, he would have ended up in Limbo again. Although no one can prove it one way or another, unless that person is Chris Nolan, it is hard to say. Both theories are possible. Evidence to Reality: If we accept that the entire movie is not a dream, and that Cobb did in fact escape his limbo with Mal, then it is reasonable to believe he also escaped his limbo with Saito. Also, there are simple explanations as to why when he sees his kids again they look much like they did in his dream.

For example, he never saw his kids faces so we cannot easily tell if they had aged much from his memory. In addition, the movie never defines the amount of time that has passed since Mal had died and Cobb was banned from the U. So the memory of his kids may only be a few months old, therefore it is very possible his kids look pretty much the same in the memories and in the present.

In addition, the visual duration of the top spinning is never a trustworthy totem at all, since it is a property of the totem others can observe and recreate. If the top is to be trustworthy at all, it is Cobb's knowledge of how it feels to spin it that convinces him he is awake, not the duration of the spinning, which we can presume will end eventually in the final scene.

Visually, there is an obvious difference between the wobbly spinning in the end-scene and the absolutely perfect spin in the safe during limbo, again implying the possibility that the final spin could be natural though only the feel in Cobb's fingers would know for sure.

It is alleged that at the end of the film Cobb's children are wearing different, albeit similar clothing compared to the clothes they wear in Cobb's subconscious. In the opening scene dream, you get a glimpse of Cobb's hand. He's wearing his wedding ring. Now, if you follow the rest of the movie keeping an eye out for this you will notice that he only has the ring on when he's allegedly in a dream.

At the end of the movie he isn't wearing the ring. If the ring only appears when he's in a dream and he's not wearing at the end of the film, that could be confirmation that in fact he woke up. The sound of the top falling over is played after the credits indicating that it is indeed "reality", but the important part is that Cobb is not looking at it, because as Nolan says, "He doesn't care. The children appear the same age as in a previous memory, and in fact, appear to have the same motions and same clothes in the yard before turning around.

It suggests to the viewer that this is exactly the same as his memory, and thus he could be still dreaming. How long the top spins is not a good totem, except in that it spinning forever is only possible in the dream world. A dedicated team provides the highest level of service, customized Chase banking solutions, and exclusive access to J. Morgan's investment expertise. Close information modal. Safe Deposit Boxes protect important documents and valuables that would be difficult or impossible to replace.

Allows you to conveniently deposit checks or cash and make withdrawals. ATMs that accept deposits without an envelope or deposit slip. Even in the real world, Mal continued to believe she was sleeping.

She began harboring suicidal thoughts as she sought to free herself from her dream, but was unable to do it alone. In her mind she felt it would be cowardly to leave Dom behind in the dream world and loved him too dearly to move on without him. Despite her beliefs, three separate psychiatrists declared her sane. On the anniversary of their wedding, Dom came to their traditional hotel room to find it in a disheveled state.

Noticing an open window, Dom looked outside to see Mal ready to jump off the opposite ledge. Dom attempts to calm Mal and convince her to come inside, but Mal replies that Dom has to jump or will be arrested for her murder because Mal had left evidence falsely accusing Dom of being abusive and making death threats against her.

She admitted her actions were made so that he would be more willing to jump with her and less guilty for leaving behind their children, as they would be taken into foster care if he lived anyway. Growing increasingly desperate, Dom begged Mal to accept her reality, but was unable to convince her.

She dropped peacefully from the roof and her evidence made Dom the prime suspect in her apparent murder. On the advice of his lawyer, Dom fled the United States, regretfully leaving behind his children who taken in by their grandparents.

He would be haunted by the memory of that day from then on, regretting that he did not say goodbye or even see their faces before leaving. In exile, Dom found the only available work for someone of his skills was illegal. He became a professional extractor, partnering extensively with point man Arthur and forging a competent reputation and large network of allies in the criminal world. His work became hindered, however, as Dom's projection of Mal began acting in increasingly unpredictable ways.

This projection was a manifestation of Dom's perception of Mal in her final years: vengeful, violent yet loving, that was empowered by his intense feelings of guilt and self-hatred: his own subconscious wish to be punished.

This required him to rely on other Architects, severely limiting his flexibility. Cobb struggles to leave his dark and tortured past behind him, which is why he accepts Saito's offer. As the movie progresses, Cobb is forced to deal with Mal's projection until he is able to fully overcome her death. Cobb excels at his job for many reasons, the greatest of which is the ease in which he reads people, most notably his marks.

He is a skilled extractor. He is also quite a conversationalist, and laces his speech and actions with deceptive gambits.