Inception (DVD)

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Inception (DVD)
Science-fiction features often involve time travel or strange worlds. In Christopher Nolan’s heist thriller Inception, the concepts converge through the realm of dreams. With his trusty associate, Arthur (Joseph Gordon-Levitt, a fine foil), Dom Cob

Recording Studio:WarnerBrothers

Published Year:2010

MPA Rating:PG-13 – Parents Strongly Cautioned

Content Rating:New

Inception is a 2010 science fiction action film written and directed by Christopher Nolan, who also produced the film with Emma Thomas, his wife. The film stars Leonardo DiCaprio as a professional thief who steals information by infiltrating the subconscious of his targets. He is offered a chance to have his criminal history erased as payment for the implantation of another person s idea into a target s subconscious. The ensemble cast includes Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Elliot Page, Tom Hardy, Dileep Rao, Cillian Murphy, Tom Berenger, and Michael Caine.

After the 2002 completion of Insomnia, Nolan presented to Warner Bros. a written 80-page treatment for a horror film envisioning dream stealers, based on lucid dreaming. Deciding he needed more experience before tackling a production of this magnitude and complexity, Nolan shelved the project and instead worked on 2005 s Batman Begins, 2006 s The Prestige, and The Dark Knight in 2008. The treatment was revised over 6 months and was purchased by Warner in February 2009. Inception was filmed in six countries, beginning in Tokyo on June 19 and ending in Canada on November 22. Its official budget was $160 million, split between Warner Bros. and Legendary. Nolan s reputation and success with The Dark Knight helped secure the film s US$100 million in advertising expenditure.

Inception s premiere was held in London on July 8, 2010; it was released in both conventional and IMAX theaters beginning on July 16, 2010. Inception grossed over $828 million worldwide, becoming the fourth-highest-grossing film of 2010. Considered one of the best films of the 2010s, Inception won four Academy Awards (Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects) and was nominated for four more: Best Picture, Best Original Screenplay, Best Art Direction, and Best Original Score.


Cobb and Arthur are extractors ; they perform corporate espionage using experimental dream-sharing technology to infiltrate their targets subconscious and extract information. Their latest target, Saito, is impressed with Cobb s ability to layer multiple dreams within each other and offers to hire Cobb for the supposedly impossible job of implanting an idea into a person s subconscious; performing inception on Robert, the son of Saito s competitor Maurice Fischer, with the idea to dissolve his father s company. Saito promises to clear Cobb s criminal status, allowing him to return home to his children.

Cobb accepts the offer and assembles his team: a forger named Eames, a chemist named Yusuf, and a college student named Ariadne. Ariadne is tasked with designing the dream s architecture, something Cobb himself cannot do for fear of being sabotaged by a projection of his late wife Mal. Maurice dies, and the team sedates Robert into a three-layer shared dream on a plane to America. Time on each layer runs slower than the layer above, with one member staying behind on each to perform a music-synchronized kick to awaken dreamers on all three levels simultaneously.

The team abducts Robert in a city on the first level but is attacked by his subconscious projections. After Saito is wounded, Cobb reveals that while dying in the dream would normally awaken dreamers, Yusuf s sedatives will instead send them into Limbo : a world of infinite subconscious. Eames impersonates Robert s godfather, Peter Browning, to introduce the idea of an alternate will to dissolve the company. Cobb tells Ariadne that he and Mal entered Limbo while experimenting with dream-sharing, experiencing fifty years in one night due to the time dilation with reality. Mal refused to return to reality, and Cobb instead performed inception on her to convince her. After waking up, Mal still believed she was dreaming. Attempting to wake up , she committed suicide and framed Cobb to force him to do the same. Cobb fled the U.S., leaving his children behind.

Yusuf drives the team around the first level as they are sedated into the second level, a hotel dreamed by Arthur. Cobb persuades Robert that he has been kidnapped by Browning to stop the dissolution and that Cobb is a defensive projection, leading Robert yet another level deeper as part of a ruse to enter Robert s subconscious. In the third level, the team infiltrates an alpine fortress with a projection of Maurice inside, where the inception itself can be performed, however Yusuf performs his kick too soon by driving off a bridge, forcing Arthur and Eames to improvise a new set of kicks synchronized with them hitting the water by rigging an elevator and the fortress respectively with explosives. Mal then appears and kills Robert before he can be subjected to the inception and he and Saito are lost into Limbo, forcing Cobb and Ariadne to rescue them in time for Robert s inception and Eames s kick.

Cobb makes peace with Mal s death. Ariadne kills Mal s projection and wakes Robert up with a kick. Revived into the third level, he discovers the planted idea: his dying father telling him to create something for himself. While Cobb searches for Saito in Limbo, the others ride the kicks back to reality. Cobb finds an aged Saito and reminds him of their agreement. The dreamers all awaken on the plane, and Saito makes a phone call. Arriving at L.A., Cobb passes the immigration checkpoint and his father-in-law accompanies him to his home. Cobb uses Mal s totem – a top that spins indefinitely in a dream – to test if he is indeed in the real world, but chooses not to observe the result and instead joins his children.


  • Leonardo DiCaprio as Dom Cobb, a professional thief who specializes in conning secrets from his victims by infiltrating their dreams. DiCaprio was the first actor to be cast in the film. Both Brad Pitt and Will Smith were offered the role, according to The Hollywood Reporter. Cobb s role is compared to the haunted widower in a Gothic romance .
  • Joseph Gordon-Levitt as Arthur, Cobb s partner who manages and researches the missions. Gordon-Levitt compared Arthur to the producer of Cobb s art, the one saying, Okay, you have your vision; now I m going to figure out how to make all the nuts and bolts work so you can do your thing .: 7 The actor did all but one of his stunt scenes and said the preparation was a challenge and it would have to be for it to look real . James Franco was in talks with Christopher Nolan to play Arthur, but was ultimately unavailable due to scheduling conflicts.
  • Elliot Page as Ariadne, a graduate student of architecture who is recruited to construct the various dreamscapes, which are described as mazes. The name Ariadne alludes to a princess of Greek myth, daughter of King Minos, who aided the hero Theseus by giving him a sword and a ball of string to help him navigate the labyrinth which was the prison of the Minotaur. Nolan said that Page was chosen for being a perfect combination of freshness and savvy and maturity beyond years .: 8 Page said their character acts as a proxy to the audience, as she s just learning about these ideas and, in essence, assists the audience in learning about dream sharing .
  • Tom Hardy as Eames, a sharp-tongued associate of Cobb. He is referred to as a fence but his specialty is forgery, more accurately identity theft. Eames uses his ability to impersonate others inside the dream world in order to manipulate Fischer. Hardy described his character as an old, Graham Greene-type diplomat; sort of faded, shabby, grandeur—the old Shakespeare lovey mixed with somebody from Her Majesty s Special Forces , who wears campy, old money costumes.
  • Ken Watanabe as Mr. Saito, a Japanese businessman who employs Cobb for the team s mission. Nolan wrote the role with Watanabe in mind, as he wanted to work with him again after Batman Begins.: 10 Inception is Watanabe s first work in a contemporary setting where his primary language is English. Watanabe tried to emphasize a different characteristic of Saito in every dream level: First chapter in my castle, I pick up some hidden feelings of the cycle. It s magical, powerful and then the first dream. And back to the second chapter, in the old hotel, I pick up sharp and more calm and smart and it s a little bit different process to make up the character of any movie .
  • Dileep Rao as Yusuf. Rao describes Yusuf as an avant-garde pharmacologist, who is a resource for people, like Cobb, who want to do this work unsupervised, unregistered and unapproved of by anyone . Co-producer Jordan Goldberg said the role of the chemist was particularly tough because you don t want him to seem like some kind of drug dealer , and that Rao was cast for being funny, interesting and obviously smart .: 11
  • Cillian Murphy as Robert Michael Fischer, the heir to a business empire and the team s target.: 10 Murphy said Fischer was portrayed as a petulant child who s in need of a lot of attention from his father, he has everything he could ever want materially, but he s deeply lacking emotionally . The actor also researched the sons of Rupert Murdoch, to add to that the idea of living in the shadow of someone so immensely powerful .
  • Tom Berenger as Peter Browning, Robert Fischer s godfather and fellow executive at the Fischers company. Berenger said Browning acts as a surrogate father to Fischer, who calls the character Uncle Peter , and emphasized that Browning has been with his whole life and has probably spent more quality time with him than his own father .: 11
  • Marion Cotillard as Mal Cobb, Dom s deceased wife. She is a manifestation of Dom s guilt about the real cause of Mal s suicide. He is unable to control these projections of her, challenging his abilities as an extractor. Nolan described Mal as the essence of the femme fatale, and DiCaprio praised Cotillard s performance, saying that she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character .: 9–10
  • Pete Postlethwaite as Maurice Fischer, Robert Fischer s father and the dying founder of a business empire.
  • Michael Caine as Professor Stephen Miles, Cobb s mentor and father-in-law,: 11 and Ariadne s college professor who recommends her to the team.
  • Lukas Haas as Nash, an architect in Cobb s employment who betrays the team and is later replaced by Ariadne.
  • Talulah Riley as a woman, credited as Blonde , whom Eames disguises himself as in a dream. Riley liked the role, despite it being minimal: I get to wear a nice dress, pick up men in bars, and shove them in elevators. It was good to do something adultish. Usually I play 15-year-old English schoolgirls.



Initially, Nolan wrote an 80-page treatment about dream-stealers. Originally, Nolan had envisioned Inception as a horror film, but eventually wrote it as a heist film even though he found that traditionally are very deliberately superficial in emotional terms. Upon revisiting his script, he decided that basing it in that genre did not work because the story relies so heavily on the idea of the interior state, the idea of dream and memory. I realized I needed to raise the emotional stakes.

Nolan worked on the script for nine to ten years. When he first started thinking about making the film, Nolan was influenced by that era of movies where you had The Matrix (1999), you had Dark City (1998), you had The Thirteenth Floor (1999) and, to a certain extent, you had Memento (2000), too. They were based in the principles that the world around you might not be real.

Nolan first pitched the film to Warner Bros. in 2001, but decided that he needed more experience making large-scale films, and embarked on Batman Begins and The Dark Knight. He soon realized that a film like Inception needed a large budget because as soon as you re talking about dreams, the potential of the human mind is infinite. And so the scale of the film has to feel infinite. It has to feel like you could go anywhere by the end of the film. And it has to work on a massive scale. After making The Dark Knight, Nolan decided to make Inception and spent six months completing the script. Nolan said that the key to completing the script was wondering what would happen if several people shared the same dream. Once you remove the privacy, you ve created an infinite number of alternative universes in which people can meaningfully interact, with validity, with weight, with dramatic consequences.

Nolan had been trying to work with Leonardo DiCaprio for years and met him several times, but was unable to recruit him for any of his films until Inception. DiCaprio finally agreed because he was intrigued by this concept—this dream-heist notion and how this character s going to unlock his dreamworld and ultimately affect his real life. : 93–94 He read the script and found it to be very well written, comprehensive but you really had to have Chris in person, to try to articulate some of the things that have been swirling around his head for the last eight years. DiCaprio and Nolan spent months talking about the screenplay. Nolan took a long time re-writing the script in order to make sure that the emotional journey of his character was the driving force of the movie. On February 11, 2009, it was announced that Warner Bros. purchased Inception, a spec script written by Nolan.

Locations and sets

Principal photography began in Tokyo on June 19, 2009, with the scene in which Saito first hires Cobb during a helicopter flight over the city.: 13

The production moved to the United Kingdom and shot in a converted airship hangar in Cardington, Bedfordshire, north of London.: 14 There, the hotel bar set which tilted 30 degrees was built.: 29 A hotel corridor was also constructed by Guy Hendrix Dyas, the production designer, Chris Corbould, the special effects supervisor, and Wally Pfister, the director of photography; it rotated a full 360 degrees to create the effect of alternate directions of gravity for scenes set during the second level of dreaming, where dream-sector physics become chaotic. The idea was inspired by a technique used in Stanley Kubrick s 2001: A Space Odyssey (1968). Nolan said, I was interested in taking those ideas, techniques, and philosophies and applying them to an action scenario .: 32 The filmmakers originally planned to make the hallway only 40 feet (12 m) long, but as the action sequence became more elaborate, the hallway s length was increased to 100 ft (30 m). The corridor was suspended along eight large concentric rings that were spaced equidistantly outside its walls and powered by two massive electric motors.: 14

Joseph Gordon-Levitt, who plays Arthur, spent several weeks learning to fight in a corridor that spun like a giant hamster wheel . Nolan said of the device, It was like some incredible torture device; we thrashed Joseph for weeks, but in the end we looked at the footage, and it looks unlike anything any of us has seen before. The rhythm of it is unique, and when you watch it, even if you know how it was done, it confuses your perceptions. It s unsettling in a wonderful way . Gordon-Levitt remembered, it was six-day weeks of just, like, coming home at night battered ... The light fixtures on the ceiling are coming around on the floor, and you have to choose the right time to cross through them, and if you don t, you re going to fall. On July 15, 2009, filming took place at University College London for the sequences occurring inside a Paris college of architecture in the story, including the library, Flaxman Gallery and Gustav Tuck Theatre.

Filming moved to France, where they shot Cobb entering the college of architecture (the place used for the entrance was the Musée Galliera) and the pivotal scenes between Ariadne and Cobb, in a bistro (a fictional one set up at the corner of Rue César Franck and Rue Bouchut), and lastly on the Bir-Hakeim bridge.: 17 For the explosion that takes place during the bistro scene, local authorities would not allow the use of real explosives. High-pressure nitrogen was used to create the effect of a series of explosions. Pfister used six high-speed cameras to capture the sequence from different angles and make sure that they got the shot. The visual effects department enhanced the sequence, adding more destruction and flying debris. For the Paris folding sequence and when Ariadne creates the bridges, green screen and CGI were used on location.: 17

Tangier, Morocco, doubled as Mombasa, where Cobb hires Eames and Yusuf. A foot chase was shot in the streets and alleyways of the historic medina quarter.: 18 To capture this sequence, Pfister employed a mix of hand-held camera and steadicam work.: 19 Tangier was also used as the setting for filming an important riot scene during the initial foray into Saito s mind.

Filming moved to the Los Angeles area, where some sets were built on a Warner Bros. sound stage, including the interior rooms of Saito s Japanese castle (the exterior was done on a small set built in Malibu Beach). The dining room was inspired by the historic Nijō Castle, built around 1603. These sets were inspired by a mix of Japanese architecture and Western influences.: 19

The production staged a multi-vehicle car chase on the streets of downtown Los Angeles, which involved a freight train crashing down the middle of a street.: 20 To do this, the filmmakers configured a train engine on the chassis of a tractor trailer. The replica was made from fiberglass molds taken from authentic train parts and matched in terms of color and design.: 21 Also, the car chase was supposed to be set in the midst of a downpour, but the L.A. weather stayed typically sunny. The filmmakers set up elaborate effects (e.g., rooftop water cannons) to give the audience the impression that the weather was overcast and soggy. L.A. was also the site of the climactic scene where a Ford Econoline van runs off the Schuyler Heim Bridge in slow motion. This sequence was filmed on and off for months, with the van being shot out of a cannon, according to actor Dileep Rao. Capturing the actors suspended within the van in slow motion took a whole day to film.

Once the van landed in the water, the challenge for the actors was to avoid panic. And when they ask you to act, it s a bit of an ask, explained Cillian Murphy. The actors had to be underwater for four to five minutes while drawing air from scuba tanks; underwater buddy breathing is shown in this sequence.

Cobb s house was in Pasadena. The hotel lobby was filmed at the CAA building in Century City. Limbo was made on location in Los Angeles and Morocco, with the beach scene filmed at Palos Verdes beach with CGI buildings. N Hope St. in Los Angeles was the primary filming location for Limbo, with green screen and CGI being used to create the dream landscape.

The final phase of principal photography took place in Alberta in late November 2009. The location manager discovered a temporarily closed ski resort, Fortress Mountain.: 22 An elaborate set was assembled near the top station of the Canadian chairlift, taking three months to build.: 93 The production had to wait for a huge snowstorm, which eventually arrived. The ski-chase sequence was inspired by Nolan s favorite James Bond film, On Her Majesty s Secret Service (1969): What I liked about it that we ve tried to emulate in this film is there s a tremendous balance in that movie of action and scale and romanticism and tragedy and emotion. : 91


The film was shot primarily in the anamorphic format on 35 mm film, with key sequences filmed on 65 mm, and aerial sequences in VistaVision. Nolan did not shoot any footage with IMAX cameras as he had with The Dark Knight. We didn t feel that we were going to be able to shoot in IMAX because of the size of the cameras because this film given that it deals with a potentially surreal area, the nature of dreams and so forth, I wanted it to be as realistic as possible. Not be bound by the scale of those IMAX cameras, even though I love the format dearly . In addition Nolan and Pfister tested using Showscan and Super Dimension 70 as potential large-format, high-frame-rate camera systems to use for the film, but ultimately decided against either format.: 29 Sequences in slow motion were filmed on a Photo-Sonics 35 mm camera at speeds of up to 1,000 frames per second. Wally Pfister tested shooting some of these sequences using a high speed digital camera, but found the format to be too unreliable due to technical glitches. Out of six times that we shot on the digital format, we only had one usable piece and it didn t end up in the film. Out of the six times we shot with the Photo-Sonics camera and 35 mm running through it, every single shot was in the movie. Nolan also chose not to shoot any of the film in 3D as he prefers shooting on film using prime lenses, which is not possible with 3D cameras. Nolan has also criticized the dim image that 3D projection produces, and disputes that traditional film does not allow realistic depth perception, saying I think it s a misnomer to call it 3D versus 2D. The whole point of cinematic imagery is it s three dimensional... You know 95% of our depth cues come from occlusion, resolution, color and so forth, so the idea of calling a 2D movie a 2D movie is a little misleading. Nolan did test converting Inception into 3D in post-production but decided that, while it was possible, he lacked the time to complete the conversion to a standard he was happy with. In February 2011 Jonathan Liebesman suggested that Warner Bros. were attempting a 3D conversion for Blu-ray release.

Wally Pfister gave each location and dream level a distinctive look to aid the audience s recognition of the narrative s location during the heavily crosscut portion of the film: the mountain fortress appears sterile and cool, the hotel hallways have warm hues, and the scenes in the van are more neutral.: 35–36

Nolan has said that the film deals with levels of reality, and perceptions of reality which is something I m very interested in. It s an action film set in a contemporary world, but with a slight science-fiction bent to it, while also describing it as very much an ensemble film structured somewhat as a heist movie. It s an action adventure that spans the globe .

Visual effects

For dream sequences in Inception, Nolan used little computer-generated imagery, preferring practical effects whenever possible. Nolan said, It s always very important to me to do as much as possible in-camera, and then, if necessary, computer graphics are very useful to build on or enhance what you have achieved physically. : 12 To this end, visual effects supervisor Paul Franklin built a miniature of the mountain fortress set and then blew it up for the film. For the fight scene that takes place in zero gravity, he used CG-based effects to subtly bend elements like physics, space and time.

The most challenging effect was the Limbo city level at the end of the film, because it continually developed during production. Franklin had artists build concepts while Nolan expressed his ideal vision: Something glacial, with clear modernist architecture, but with chunks of it breaking off into the sea like icebergs . Franklin and his team ended up with something that looked like an iceberg version of Gotham City with water running through it. They created a basic model of a glacier and then designers created a program that added elements like roads, intersections and ravines until they had a complex, yet organic-looking, cityscape. For the Paris-folding sequence, Franklin had artists producing concept sketches and then they created rough computer animations to give them an idea of what the sequence looked like while in motion. Later during principal photography, Nolan was able to direct DiCaprio and Page based on this rough computer animation that Franklin had created. Inception had nearly 500 visual effects shots (in comparison, Batman Begins had approximately 620), which is relatively few in comparison to contemporary effects-heavy films, which can have as many as 2,000 visual effects shots.


The score for Inception was written by Hans Zimmer, who described his work as a very electronic, dense score , filled with nostalgia and sadness to match Cobb s feelings throughout the film. The music was written simultaneously to filming, and features a guitar sound reminiscent of Ennio Morricone, played by Johnny Marr, former guitarist of the Smiths. Édith Piaf s Non, je ne regrette rien ( No, I Regret Nothing ) appears throughout the film, used to accurately time the dreams, and Zimmer reworked pieces of the song into cues of the score. A soundtrack album was released on July 11, 2010, by Reprise Records. The majority of the score was also included in high resolution 5.1 surround sound on the second disc of the two-disc Blu-ray release. Hans Zimmer s music was nominated for an Academy Award in the Best Original Score category in 2011, losing to Trent Reznor and Atticus Ross of The Social Network.


Reality and dreams

In Inception, Nolan wanted to explore the idea of people sharing a dream space... That gives you the ability to access somebody s unconscious mind. What would that be used and abused for? The majority of the film s plot takes place in these interconnected dream worlds. This structure creates a framework where actions in the real or dream worlds ripple across others. The dream is always in a state of production, and shifts across the levels as the characters navigate it. By contrast, the world of The Matrix (1999) is an authoritarian, computer-controlled one, alluding to theories of social control developed by thinkers Michel Foucault and Jean Baudrillard. However, according to one interpretation Nolan s world has more in common with the works of Gilles Deleuze and Félix Guattari.

David Denby in The New Yorker compared Nolan s cinematic treatment of dreams to Luis Buñuel s in Belle de Jour (1967) and The Discreet Charm of the Bourgeoisie (1972). He criticized Nolan s literal-minded action level sequencing compared to Buñuel, who silently pushed us into reveries and left us alone to enjoy our wonderment, but Nolan is working on so many levels of representation at once that he has to lay in pages of dialogue just to explain what s going on. The latter captures the peculiar malign intensity of actual dreams.

Deirdre Barrett, a dream researcher at Harvard University, said that Nolan did not get every detail accurate regarding dreams, but their illogical, rambling, disjointed plots would not make for a great thriller anyway. However, he did get many aspects right, she said, citing the scene in which a sleeping Cobb is shoved into a full bath, and in the dream world water gushes into the windows of the building, waking him up. That s very much how real stimuli get incorporated, and you very often wake up right after that intrusion.

Nolan himself said, I tried to work that idea of manipulation and management of a conscious dream being a skill that these people have. Really the script is based on those common, very basic experiences and concepts, and where can those take you? And the only outlandish idea that the film presents, really, is the existence of a technology that allows you to enter and share the same dream as someone else.

Dreams and cinema

Others have argued that the film is itself a metaphor for filmmaking, and that the filmgoing experience itself, images flashing before one s eyes in a darkened room, is akin to a dream. Writing in Wired, Jonah Lehrer supported this interpretation and presented neurological evidence that brain activity is strikingly similar during film-watching and sleeping. In both, the visual cortex is highly active and the prefrontal cortex, which deals with logic, deliberate analysis, and self-awareness, is quiet. Paul argued that the experience of going to a picturehouse is itself an exercise in shared dreaming, particularly when viewing Inception: the film s sharp cutting between scenes forces the viewer to create larger narrative arcs to stitch the pieces together. This demand of production parallel to consumption of the images, on the part of the audience is analogous to dreaming itself. As in the film s story, in a cinema one enters into the space of another s dream, in this case Nolan s, as with any work of art, one s reading of it is ultimately influenced by one s own subjective desires and subconscious. At Bir-Hakeim bridge in Paris, Ariadne creates an illusion of infinity by adding facing mirrors underneath its struts, Stephanie Dreyfus in la Croix asked Is this not a strong, beautiful metaphor for the cinema and its power of illusion?

Cinematic technique


Nolan combined elements from several different film genres into the film, notably science fiction, heist film, and film noir. Marion Cotillard plays Mal Cobb, Dom Cobb s projection of his guilt over his deceased wife s suicide. As the film s main antagonist, she is a frequent, malevolent presence in his dreams. Dom is unable to control these projections of her, challenging his abilities as an extractor. Nolan described Mal as the essence of the femme fatale ,: 9 the key noir reference in the film. As a classic femme fatale her relationship with Cobb is in his mind, a manifestation of Cobb s own neurosis and fear of how little he knows about the woman he loves. DiCaprio praised Cotillard s performance saying that she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character .: 10

Nolan began with the structure of a heist movie, since exposition is an essential element of that genre, though adapted it to have a greater emotional narrative suited to the world of dreams and subconscious. As Denby described this device: the outer shell of the story is an elaborate caper . Kristin Thompson argued that exposition was a major formal device in the film. While a traditional heist movie has a heavy dose of exposition at the beginning as the team assembles and the leader explains the plan, in Inception this becomes nearly continuous as the group progresses through the various levels of dreaming. Three quarters of the film, until the van begins to fall from the bridge, are devoted to explaining its plot. In this way, exposition takes precedence over characterization. The characters relationships are created by their respective skills and roles. Ariadne, like her ancient namesake, creates the maze and guides the others through it, but also helps Cobb navigate his own subconscious, and as the sole student of dream sharing, helps the audience understand the concept of the plot.

Nolan drew inspiration from the works of Jorge Luis Borges, including The Secret Miracle and The Circular Ruins , and from the films Blade Runner (1982) and The Matrix (1999). While Nolan has not confirmed this, it has also been suggested by many observers that the movie draws heavy inspiration from the 2006 animated film Paprika.


The film cuts to the closing credits from a shot of the top apparently starting to show an ever so faint wobble, inviting speculation about whether the final sequence was reality or another dream. Nolan confirmed that the ambiguity was deliberate, saying, I ve been asked the question more times than I ve ever been asked any other question about any other film I ve made... What s funny to me is that people really do expect me to answer it. The film s script concludes with Behind him, on the table, the spinning top is STILL SPINNING. And we—FADE OUT . Nolan said, I put that cut there at the end, imposing an ambiguity from outside the film. That always felt the right ending to me—it always felt like the appropriate kick to me... The real point of the scene—and this is what I tell people—is that Cobb isn t looking at the top. He s looking at his kids. He s left it behind. That s the emotional significance of the thing. Also, Michael Caine explained his interpretation of the ending, saying, If I m there it s real, because I m never in the dream. I m the guy who invented the dream.

Mark Fisher argued that a century of cultural theory cautions against accepting the author s interpretation as anything more than a supplementary text, and this all the more so given the theme of the instability of any one master position in Nolan s films. Therein the manipulator is often the one who ends up manipulated, and Cobb s not caring about whether or not his world is real may be the price of his happiness and release.



Warner Bros. spent US$100 million marketing the film. Although Inception was not part of an existing franchise, Sue Kroll, president of Warner s worldwide marketing, said the company believed it could gain awareness due to the strength of Christopher Nolan as a brand . Kroll declared that We don t have the brand equity that usually drives a big summer opening, but we have a great cast and a fresh idea from a filmmaker with a track record of making incredible movies. If you can t make those elements work, it s a sad day. The studio also tried to maintain a campaign of secrecy—as reported by the Senior VP of Interactive Marketing, Michael Tritter, You have this movie which is going to have a pretty big built in fanbase... but you also have a movie that you are trying to keep very secret. Chris really likes people to see his movies in a theater and not see it all beforehand so everything that you do to market that—at least early on—is with an eye to feeding the interest to fans.

A viral marketing campaign was employed for the film. After the revelation of the first teaser trailer, in August 2009, the film s official website featured only an animation of Cobb s spinning top. In December, the top toppled over and the website opened the online game Mind Crime, which upon completion revealed Inception s poster. The rest of the campaign unrolled after WonderCon in April 2010, where Warner gave away promotional T-shirts featuring the PASIV briefcase used to create the dream space, and had a QR code linking to an online manual of the device. Mind Crime also received a stage 2 with more resources, including a hidden trailer for the movie. More pieces of viral marketing began to surface before Inception s release, such as a manual filled with bizarre images and text sent to Wired magazine, and the online publication of posters, ads, phone applications, and strange websites all related to the film. Warner also released an online prequel comic, Inception: The Cobol Job.

The official trailer released on May 10, 2010, through Mind Game was extremely well received. It featured an original piece of music, Mind Heist , by recording artist Zack Hemsey, rather than music from the score. The trailer quickly went viral with numerous mashups copying its style, both by amateurs on sites like YouTube and by professionals on sites such as CollegeHumor. On June 7, 2010, a behind-the-scenes featurette on the film was released in HD on Yahoo! Movies.

Inception and its film trailers are widely credited for launching the trend throughout the 2010s in which blockbuster movie trailers repeatedly hit audiences with so-called braam sounds: bassy, brassy, thunderous notes—like a foghorn on steroids—meant to impart a sense of apocalyptic momentousness . However, different composers worked on the teaser trailer, first trailer, second trailer, and film score, meaning that identifying the composer(s) responsible for that trend is a complicated task.

Home media

Inception was released on DVD and Blu-ray on December 3, 2010, in France, and the week after in the UK and USA (December 7, 2010). Warner Bros. also made available in the United States a limited Blu-ray edition packaged in a metal replica of the PASIV briefcase, which included extras such as a metal replica of the spinning top totem. With a production run of less than 2,000, it sold out in one weekend. Inception was released on 4K Blu-ray and digital copy along with other Christopher Nolan films on December 19, 2017. As of 2018, the home video releases have sold over 9 million units and grossed over $160 million.

Putative video game

In a November 2010 interview, Nolan expressed his intention to develop a video game set in the Inception world, working with a team of collaborators. He described it as a longer-term proposition , referring to the medium of video games as something I ve wanted to explore .

10th anniversary re-release

Inception was re-released in theaters for its tenth anniversary, starting on August 12, 2020, in international markets and on August 21 in the U.S. The re-release was originally announced by Warner Bros. in June 2020 and scheduled for July 17, 2020, taking the original release date for Nolan s upcoming film Tenet after its delay to July 31 due to the impact of the COVID-19 pandemic on movie theaters. After Tenet was delayed again to August 12, the re-release was shifted to July 31, before setting on the August release date following a third delay.


Box office

FilmRelease dateBox office revenueBox office rankingBudgetReference
United StatesNorth AmericaInternationalWorldwideAll-time United StatesAll-time worldwide
Inception July 2010US$292,576,195US$532,956,569US$825,532,764No. 80No. 67US$160,000,000

Inception was released in both conventional and IMAX theaters on July 16, 2010. The film had its world premiere at Leicester Square in London on July 8, 2010. In the United States and Canada, Inception was released theatrically in 3,792 conventional theaters and 195 IMAX theaters. The film grossed US$21.8 million during its opening day on July 16, 2010, with midnight screenings in 1,500 locations. Overall the film made US$62.7 million and debuted at No.1 on its opening weekend. Inception s opening weekend gross made it the second-highest-grossing debut for a science fiction film that was not a sequel, remake or adaptation, behind Avatar s US$77 million opening-weekend gross in 2009. The film held the top spot of the box office rankings in its second and third weekends, with drops of just 32% (US$42.7 million) and 36% (US$27.5 million), respectively, before dropping to second place in its fourth week, behind The Other Guys.

Inception grossed US$292 million in the United States and Canada, US$56 million in the United Kingdom, Ireland and Malta and US$475 million in other countries for a total of US$823 million worldwide. Its five highest-grossing markets after the US and Canada (US$292 million) were China (US$68 million), the United Kingdom, Ireland and Malta (US$56 million), France and the Maghreb region (US$43 million), Japan (US$40 million) and South Korea (US$38 million). It was the sixth-highest-grossing film of 2010 in North America, and the fourth-highest-grossing film of 2010, behind Toy Story 3, Alice in Wonderland and Harry Potter and the Deathly Hallows – Part 1. Inception is the third most lucrative production in Christopher Nolan s career—behind The Dark Knight and The Dark Knight Rises—and the second most for Leonardo DiCaprio—behind Titanic.

Critical response

On Rotten Tomatoes, the film holds an approval rating of 87% based on 361 reviews, with an average rating of 8.10/10. The website s critical consensus reads: Smart, innovative, and thrilling, Inception is that rare summer blockbuster that succeeds viscerally as well as intellectually. Metacritic, another review aggregator, assigned the film a weighted average score of 74 out of 100, based on 42 critics, indicating generally favorable reviews . Audiences polled by CinemaScore gave the film an average grade of B+ on an A+ to F scale.

Peter Travers of Rolling Stone called Inception a wildly ingenious chess game, and concluded the result is a knockout. Justin Chang of Variety praised the film as a conceptual tour de force and wrote, applying a vivid sense of procedural detail to a fiendishly intricate yarn set in the labyrinth of the unconscious mind, the writer-director has devised a heist thriller for surrealists, a Jungian s Rififi, that challenges viewers to sift through multiple layers of (un)reality. Jim Vejvoda of IGN rated the film as perfect, deeming it a singular accomplishment from a filmmaker who has only gotten better with each film. Relevant s David Roark called it Nolan s greatest accomplishment, saying, Visually, intellectually and emotionally, Inception is a masterpiece.

In its August 2010 issue, Empire magazine gave the film a full five stars and wrote, it feels like Stanley Kubrick adapting the work of the great sci-fi author William Gibson Nolan delivers another true original: welcome to an undiscovered country. Entertainment Weekly s Lisa Schwarzbaum gave the film a B+ grade and wrote, It s a rolling explosion of images as hypnotizing and sharply angled as any in a drawing by M. C. Escher or a state-of-the-biz video game; the backwards splicing of Nolan s own Memento looks rudimentary by comparison. The New York Post s Lou Lumenick gave the film a four-star rating and wrote, DiCaprio, who has never been better as the tortured hero, draws you in with a love story that will appeal even to non-sci-fi fans. Roger Ebert of the Chicago Sun-Times awarded the film a full four stars and said that Inception is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. It s a breathtaking juggling act. Richard Roeper, also of the Sun-Times, gave Inception an A+ score and called it one of the best movies of the century. BBC Radio 5 Live s Mark Kermode named Inception as the best film of 2010, stating that Inception is proof that people are not stupid, that cinema is not trash, and that it is possible for blockbusters and art to be the same thing.

Michael Phillips of the Chicago Tribune gave the film 3 out of 4 stars and wrote, I found myself wishing Inception were weirder, further out the film is Nolan s labyrinth all the way, and it s gratifying to experience a summer movie with large visual ambitions and with nothing more or less on its mind than (as Shakespeare said) a dream that hath no bottom. TIME magazine s Richard Corliss wrote that the film s noble intent is to implant one man s vision in the mind of a vast audience The idea of moviegoing as communal dreaming is a century old. With Inception, viewers have a chance to see that notion get a state-of-the-art update. Kenneth Turan of the Los Angeles Times felt that Nolan was able to blend the best of traditional and modern filmmaking. If you re searching for smart and nervy popular entertainment, this is what it looks like. USA Today s Claudia Puig gave the film three-and-a-half out of four stars and felt that Nolan regards his viewers as possibly smarter than they are—or at least as capable of rising to his inventive level. That s a tall order. But it s refreshing to find a director who makes us stretch, even occasionally struggle, to keep up.

Not all reviewers gave the film positive reviews. New York magazine s David Edelstein claimed in his review that he had no idea what so many people are raving about. It s as if someone went into their heads while they were sleeping and planted the idea that Inception is a visionary masterpiece and—hold on ... Whoa! I think I get it. The movie is a metaphor for the power of delusional hype—a metaphor for itself. The New York Observer s Rex Reed explained that the film s development was pretty much what we ve come to expect from summer movies in general and Christopher Nolan movies in particular ... doesn t seem like much of an accomplishment to me. A. O. Scott of The New York Times commented there is a lot to see in Inception, there is nothing that counts as genuine vision. Mr. Nolan s idea of the mind is too literal, too logical, and too rule-bound to allow the full measure of madness. The New Yorker s David Denby considered the film to not nearly as much fun as Nolan imagined it to be , concluding that Inception is a stunning-looking film that gets lost in fabulous intricacies, a movie devoted to its own workings and to little else.

While some critics have tended to view the film as perfectly straightforward, and even criticize its overarching themes as the stuff of torpid platitudes, online discussion has been much more positive. Heated debate has centered on the ambiguity of the ending, with many critics like Devin Faraci making the case that the film is self-referential and tongue-in-cheek, both a film about film-making and a dream about dreams. Other critics read Inception as Christian allegory and focus on the film s use of religious and water symbolism. Yet other critics, such as Kristin Thompson, see less value in the ambiguous ending of the film and more in its structure and novel method of storytelling, highlighting Inception as a new form of narrative that revels in continuous exposition .

Several critics and scholars have noted the film has many striking similarities to the 2006 anime film Paprika by Satoshi Kon (and Yasutaka Tsutsui s 1993 novel of the same name), including plot similarities, similar scenes, and similar characters, arguing that Inception was influenced by Paprika. Several sources have also noted plot similarities between the film and the 2002 Uncle Scrooge comic The Dream of a Lifetime by Don Rosa. The influence of Tarkovsky s Solaris on Inception was noted as well.

Year-end and all-time lists

Inception appeared on over 273 critics lists of the top ten films of 2010, being picked as number-one on at least 55 of those lists. It was the second-most-mentioned film in both the top ten lists and number-one rankings, only behind The Social Network along with Toy Story 3, True Grit, The King s Speech, and Black Swan as the most critically acclaimed films of 2010. Author Stephen King placed Inception at #3 in his list of top 10 best movies of the year.

Critics and publications who ranked the film first for that year included Richard Roeper of the Chicago Sun-Times, Kenneth Turan of the Los Angeles Times (tied with The Social Network and Toy Story 3), Tasha Robinson of The A.V. Club, Empire magazine, and Kirk Honeycutt of The Hollywood Reporter.

In March 2011, the film was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their ninth-favorite film of all time. Producer Roger Corman cited Inception as an example of great imagination and originality . It was voted as the third-best science fiction film of all time in the 2011 list Best in Film: The Greatest Movies of Our Time, based on a poll conducted by ABC and People. In 2012, Inception was ranked the 35th-best-edited film of all time by the Motion Picture Editors Guild. In the same year, Total Film named it the most-rewatchable movie of all time. In 2014, Empire ranked Inception the tenth-greatest film ever made on their list of The 301 Greatest Movies Of All Time as voted by the magazine s readers, while Rolling Stone magazine named it the second-best science fiction film since the turn of the century. Inception was ranked 84th on Hollywood s 100 Favorite Films, a list compiled by The Hollywood Reporter in 2014, surveying Studio chiefs, Oscar winners and TV royalty . In 2016, Inception was voted the 51st-best film of the 21st Century by BBC, as picked by 177 film critics from around the world. The film was included in the Visual Effects Society s list of The Most Influential Visual Effects Films of All Time . In 2019, Total Film named Inception the best film of the 2010s. Many critics and media outlets included Inception in their rankings of the best films of the 2010s. The film was included in Forbes magazine s list of Top 150 Greatest Films of 21st Century.

In April 2014, The Daily Telegraph placed the title on its top ten list of the most overrated films. Telegraph s Tim Robey stated, It s a criminal failing of the movie that it purports to be about people s dreams being invaded, but demonstrates no instinct at all for what a dream has ever felt like, and no flair for making us feel like we re in one, at any point. The film won an informal poll by the Los Angeles Times as the most overrated movie of 2010.


The film won many awards in technical categories, such as Academy Awards for Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects, and the British Academy Film Awards for Best Production Design, Best Special Visual Effects and Best Sound. In most of its artistic nominations, such as Film, Director, and Screenplay at the Oscars, BAFTAs and Golden Globes, the film was defeated by The Social Network or The King s Speech. However, the film did win the two highest honors for a science fiction or fantasy film: the 2011 Bradbury Award for best dramatic production and the 2011 Hugo Award for Best Dramatic Presentation (Long Form).

In popular culture

Numerous pop and hip hop songs reference the film, including Common s Blue Sky, N.E.R.D. s Hypnotize U, XV s The Kick, Black Eyed Peas Just Can t Get Enough, Lil Wayne s 6 Foot 7 Foot, Jennifer Lopez s On the Floor, and B.o.B s Strange Clouds, while T.I. had Inception-based artwork on two of his mixtapes. An instrumental track by Joe Budden is titled Inception. The animated series South Park parodies the film in the show s tenth episode of its fourteenth season, titled Insheeption. The film was also an influence for Ariana Grande s video for No Tears Left to Cry. Lawnmower Dog , the second episode of the animated comedy show Rick and Morty, parodied the film. In an episode of The Simpsons, named How I Wet Your Mother , the plot spoofs Inception with various scenes parodying moments from the film. The showrunners of the television series The Flash said its season 4 finale was inspired by Inception. In February 2020, American singer-songwriter Taylor Swift released a lyric video for her single The Man , which featured visuals bearing resemblance to the film. The song also mentions DiCaprio in its lyrics.

The film s title has been colloquialized as the suffix -ception, which can be jokingly appended to a noun to indicate a layering, nesting, or recursion of the thing in question.





Rating MPA


Recording Length

148 minutes

Recording Studio





inception dvd

Amazon ASIN











2h 28min


Top rated movie #13 , Won 4 Oscars, 157 wins & 220 nominations total


Christopher Nolan


Christopher Nolan


Leonardo DiCaprio, Joseph Gordon-Levitt, Elliot Page

Produced by

Zakaria Alaoui, John Bernard, Chris Brigham, Jordan Goldberg, Thomas Hayslip, Christopher Nolan, Kanjirô Sakura, Yoshikuni Taki, Emma Thomas, Thomas Tull

Music by

Hans Zimmer

Cinematography by

Wally Pfister

Film Editing by

Lee Smith

Casting By

John Papsidera

Production Design by

Guy Hendrix Dyas

Art Direction by

Luke Freeborn, Matthew Gray, Brad Ricker, Dean Wolcott

Set Decoration by

Larry Dias, Douglas A. Mowat

Costume Design by

Jeffrey Kurland

Makeup Department

Luisa Abel, Sonia Akouz, Janice Alexander, Elena Arroy, Terry Baliel, Kathryn Blondell, Carlton Coleman, Maggie Elliott, Darlene Forrester, Connie Grayson Criswell, Sian Grigg, Chris Grondin, Joel Harlow, Teressa Hill, Matthew Jorgensen, Michael Shawn McCracken, Sasha McLaughlin, Matthew W. Mungle, Sharon O Brien, Koji Ohmura, Fulvio Pozzobon, Florence Roumieu, Kathia Ruiz, Samantha J. Rumball, Hicham Sahi, Justin Stafford, Estelle Tolstoukine, Jay Wejebe, Aya Yabuuchi, Frédérique Arguello, Jamie Hess

Production Management

Saad Ajedigue, James Babiarz, Kim Bailey, Sam Breckman, David Campbell-Bell, Gilles Castera, Jan Foster, David E. Hall, Benoit Hemard, Kevin Jenkins, Roger Mohn, Mark Mostyn, Crystal Munson, Michael Murray, Brian Leslie Parker, Barbara Russo, Elona Tsou, Kevin Westley

Second Unit Director or Assistant Director

Mohamed Essaghir Aabach, Tarik Ait Ben Ali, Shervineh Didandeh, Yann Mari Faget, Kevin Frilet, Tetsuo Funabashi, Lorie Gibson, Richard Graysmark, Ahmed Hatimi, Sarah Hood, Jimmy Kitaji, Brandon Lambdin, Nilo Otero, Lauren Pasternack, Gregory J. Pawlik Jr., Gordon Piper, Tracey Poirier, Mohammed Hamza Regragui, William D. Robinson, Jody Ryan, Brian Sepanzyk, Tom Fenwick Smith, Sonic, Paula Turnbull, Claire-Oriane Vauchelle, Walid Ayoub, Delphine Bertrand, Carole Schmidlin Blanchard, Aurore Coppa, Vanessa Djian, Gil Kenny, Louis-Julien Petit

Art Department

Efrem L. Acosta, Charlsey Adkins, Damon Allison, Rich Andrade, Dominique Arcadio, Alfred A. Arndt, Abdellah Baadil, Tamar Barnoon, Jim Barr, Sarena Bhargava, Mark Bialuski, Dean Bird, Scott Bobbitt, Mike Bomar, Nicolas Brechat, Sophie Bridgman, Matthew Broderick, Bryan Buckler, Gregory Byrne, Tim C Campbell, David Carberry, Graham Caulfield, Barbara Chandler, Aric Cheng, Clinton Wade Childress, Paul Christopher, Lisa Chugg, David Cohen, Dawn-Anne Coulson, Richard Crain, Rossana De Cicco, Hélène Dubreuil, Karim Elamri, William Eliscu, Lahcen Elyazidi, James Enright, Houman Eshraghi, Zachary Fannin, Robert Fechtman, James Fennessy, Chris Fix, Glenn Forbes, Sara Gardner-Gail, Erick Garibay, Neil Garland, Philippe Gaulier, Barry Gibbs, Hayley Gibbs, Philip Ginolfi, John Giuliano, Carmine Goglia, Eugene Gogowich, Shelly Goldsack, Dean Goodine, David Gray, Matthew Gray, Tommy Gutman, Wayne Hammond, Gabriel Hardman, Darcy Healy, Paul Healy, J. Bryan Holloway, John Horning, Trey Howard, Martin Hubbard, Crystal Husum, Bill Ives, Abdenabi Izlaguen, Henry Stuart John, Michael Jones, Thomas Jones, Ashlie Jump, Steven Kajorinne, Jonas Kirk, Chris Kitisakkul, Jason Knox-Johnston, Helen Kozora, Gary Lambert, Martin Lane, Justin J. LaPresle, Paul Laugier, Peter Lee, Jennifer Lewicki, Loyola Lewis, Scott Maginnis, Jason Mahakian, Melanie Mahoney, Roger Mann, Tony Marks, Adam McCreight, Alan McCullagh, Robert McKinnon, David Meeking, Garry Moore, Amanda Moss Serino, Tiara Motem, Adam Mull, Sebastiano Murer, Mike Needham, Alan Neighbour, Mitch Niclas, Antonio Nogueira, Josh O Neill, Cesar Orozco, Samuel Pactol, Sam Page, Edward V. Pannozzo, Darryl Paterson, Alan Payne, Michael Pennington, Thibaut Peschard, Carl Peters, Kate Pickthall, Frank Piercy, Francois Poublan, Rachid Quiat, Eric Ramirez, Charlotte Raybourn, Amin Rharda, Malcolm Roberts, Eric Rood, Steve Rosolio, Steve Salazar, Scott Schneider, Matt Sims, Brett C. Smith, Danny Smith, Eric Smith, Gene Starzenski, Derek Steenstra, Jon Stein, Sophie Tarver, Fred Taylor, Gregor Telfer, Rebecca Thomas, Daniel Thompson, Andy Thomson, George Thomson, Bradley Torbett, Bryan Turk, Adrian Valdes, Caroline Vion, Robert Voysey, Frank Walsh, Pete Washburn, Mark Weber, James Weeks, Nathaniel West, Kevin Wheeler, John Whitby, Luke Whitelock, Cale Wilbanks, Dale Wilmarth, Carl Wilson, Liloa Wong, Ben Woodworth, Mark Woodworth, Marcel Worch, Matt Wynne, Michael Biggie, James Collins, Kelly Deco, Val Drake, Melissa Eybers, Jimmy Flores, David Gray, Rohan Harris, Gregory S. Hooper, Matthew King, Ray Maxwell, Gary Metzen, Eddie Murphy, Edward Skade, Kate Stamp, Anthony Szuch, Jack White

Sound Department

Christopher Atkinson, Michael Babcock, Paul Berolzheimer, Andrew Bock, Graham Colwell, Tawa K. Durowoju, John P. Fasal, Christopher Flick, Eric Flickinger, Matt Gruber, Lora Hirschberg, Richard King, R.J. Kizer, James P. Lay, Scott R. Lewis, Mike Markiw, Michael W. Mitchell, Alyson Dee Moore, Sterling Moore, William Munroe, Steve Nelson, Matthias Neumann, Ed Novick, Thomas J. O Connell, Jordan O Neill, Eric Potter, Brian Power, David Raymond, Gary A. Rizzo, Brian Robinson, John Roesch, Karym Ronda, Brian Seagrave, Michael Semanick, Bruce Tanis, Bryan O. Watkins, Hugo Weng, Linda Yeaney, Nourdine Zaoui, Lawrence L. Commans, Sreejesh

Special Effects by

Ryan Amborn, Tim Ambridge, Michael Badley, Pete Britten, John P. Cazin, Kelly Coe, Robert Cole, Chris Corbould, Ian Corbould, Lynne Corbould, John J. Downey, Tony Edwards, Dave Eltham, Jody Eltham, Alexander Fabre, Scott R. Fisher, John Fleming, Michael Fox, Adam Gelbart, Mark Godleman, Tom Goodman, Mel Green, Paul Harford, Charlie Harper, Kevin Herd, Nicholas Hiegel, Thomas R. Homsher, Chris Flimsy Howes, Matthew Johnson, Michael Kay, Paul Knowles, Jason Leinster, Daniel Massett, Jeremy Maupin, Jason McCameron, Tim Mitchell, Tom Murtagh, Peter Notley, Hanin Ouidder, Amanda Paller, Jason Paradis, Carlo Perez, Roy Quinn, Simon Quinn, Michael Rifkin, Jim Rollins, Maurice Routly, Nigel Sinclair, Robert L. Slater, Andrew Smith, Leo Leoncio Solis, Mark Stanton, Christopher A. Suarez, Clark Templeman, Mario Vanillo, Eric Vrba, Gareth Wingrove, Tony P. Chen, Graham S. Hollins, Jay King, Terry W. King, Stuart Leach, Albert F. Seibert, Andy Simm, Jon Thackery, Blumes Tracy

Visual Effects by

Victor Abbene, Kieran Ahern, Diccon Alexander, Enrico Altmann, Edward Andrews, Arild Anfinnsen, Tim Angulo, Avi Arora, Stewart Ash, Jörg Baier, Dan Bailey, Keziah Bailey, Michael Bain, Richard Bain, Daniel Baldwin, Luke Ballard, Zeljko Barcan, Adam Barnett, Dane K. Barney, Bruno Baron, Pete Bebb, Susanne Becker, James Benson, Scott Beverly, Sourajit Bhattacharya, Luke Bigley, Muhittin Bilginer, Stephen Borneman, Romain Bouvard, E.M. Bowen, Paul Boyd, Paul Brannan, Danielle Brooks, Mikael Brosset, Lester Brown, Nik Brownlee, Richard Burnside, Paul Burton, Astrid Busser-Casas, Huseyin Caner, Tom Carrick, Dominic Carus, Michael Cashmore, John P. Cazin, Kamelia Chabane, Bimla Chall, Mike Chambers, Vincent Chang, Vanessa Chiara, Dan Churchill, Kirsty Clark, Jeff Clifford, Debra Coleman, Drew Collins, Miodrag Colombo, Will Correia, Ciaran Crowley, Alistair Darby, Jon Datema, Curtis Michael Davey, Michael Davies, Samual Dawes, Graham Day, Dimitri Delacovias, Joe Dennis, Noah DePietro, Ben Dick, Komal Dogra, Yoav Dolev, Monette Dubin, Paul Ducker, Matthew Eberle, Bronwyn Edwards, Charlie H. Ellis, Stephen Ellis, Huw J. Evans, Nina Fallon, Stuart Farley, Forest P. Fischer, Jay Fleming, Julien Fourvel, Paul J. Franklin, John J. Galloway, Mayur Gangasagar, Shannon Blake Gans, Anshul Gattani, Philippe Gaulier, Sotiris Georghiou, Clement Gerard, Nikhil Ghoorbin, Arabella Gilbert, Julian Gnass, Ana Gomes, Roy Goode, Azzard Gordon, David Goubitz, Vanessa Gratton, Simon Gustafsson, James Guy, Adam Hammond, Sam Hanover, Pete Hanson, Jon Hanzelka, Brandon Harr, Will Harrower, Sean Heuston, Jeremy Hey, Ben Hicks, Tom Hocking, Rob Hodgson, Dave Horowitz, Nicola Hoyle, Ian Hunter, David Hyde, Ali Ingham, Matthew Jacques, Oliver James, Christopher Jaques, Jeffrey Jasper, Llyr Tobias Johansen, Lorraine Johnson, Phil Johnson, Prateek Kaushal, Brooke Keesling, Elaine Kieran, Yuko Kimoto, Wallace Kirkwood, Dorian Knapp, Anne Putnam Kolbe, Michelle Kuginis, Mahesh Kumar, Rajnish Kumar, Emily Kwong, Josh Lawson, Helgi Laxdal, Daniel Leatherdale, Maxx Wai In Leong, Philippe Leprince, Jean-François Leroux, May Leung, Eugene Lipkin, Andrew Lockley, Paula Diane Lopez, Thomas Luff, Michael Lyle, Andrew MacLeod, Renaud Madeline, Claudia Maneka Maharaj, Raj Mahendran, Yousaf Main, Jan Maroske, Lilly Heart Marriott, Scott Marriott, Mark Masson, Paul Maurice, James McPherson, Paul McWilliams, Gurel Mehmet, Thomas Middleton, Midhun, Ken Mieding, Ellen E. Miki, Steve Miller, Alexandre Millet, Alice Mitchell, Derrick Mitchell, James Mulholland, Katy Mummery, Per Mørk-Jensen, Dan Neal, Stuart Nelhams, Steve Newburn, Doug Nicholas, Charlie Noble, Kevin Norris, Jean Claude Nouchy, Peter Ocampo, Cenay Oekmen, Peter Olliff, Graham Page, Ami Patel, Tilman Paulin, Enrik Pavdeja, Mark Payne, Aleksandar Pejic, Jonathan Perez, Andrea Pirisi, George Plakides, Matthew Plummer, Jason Pomerantz, Carlos Poon, Ellen Poon, Andy Potter, Laurence Priest, Scott Pritchard, Sonny Pye, Paul Pytlik, Daniel Rauchwerger, Ben Record, Richard R. Reed, Steve Rhee, Wesley Roberts, Sophie Robinson, Fanny Roche, Tara Roseblade, Trina M. Roy, Timothy Russell, Kayte Sabicer, Matt Sadler, David Sanger, Marcelo M. Santos, Carlo Scaduto, Matthias Scharfenberg, Paula Schneider, Scott Schneider, Marko Schöbel, Paul Scott, Robert Seaton, Brandon Seifert, John Seru, Arun Sharma, Brian Silva, Chandan Singh, Richard King Slifka, Jacob Slutsky, Jeremy Smith, Phil Smith, Alan So, Henrik Soder, Robert Spurlock, Kai Stavginski, Katie Stetson, Natalie Stopford, Mary Stroumpouli, Heiko Sülberg, Giuseppe Tagliavini, Ben Taylor, Stephen Tew, Joe Thornley, Lee Tibbetts, Andi Toker, Marie Tollec, Oscar Tornincasa, Shunsuke Tsuchiya, Erik Tvedt, Chris Ung, Sherin Varghese, Peter Vickery, Sharon Warmington, Rebecca Waters, Joe Wehmeyer, Mark H. Weingartner, Sean Whelan, Ross Lee Wilkinson, Clare Williams, Richard Stuart Wilson, Kim Wiseman, Annie V. Wong, Helen Wood, Ryan John Woodward, Alison Wortman, Leanne Young, Patsy Yiu Ping Yuen, Luca Zappala, George Zwier, Nikita Agrawal, Shudhdodhan Milind Ambhore, Randy Bosh, Joseph Boyle, James Braid, Finella Fan, Adam Jhani-Stephens, Taz Lodder, Peregrine McCafferty, Alexandra Papavramides, Jay Patel, Akshat Tiwari, Nick van Diem, Vanessa Velasquez


Younes Afroukh, Faycal Attougui, Dean Bailey, Joseph Beddelem, Hami Belal, Tarik Belmekki, Yannick Ben, Guy Bews, Andy Bradshaw, Shane Brewer, Richard Bucher, Richard Burden, Allison Caetano, Bruce Cain, Marvin Campbell, RJ Casey, Douglas Chapman, Mark Chavarria, Mike Ching, Tom Cohan, Eliza Coleman, Brent Connolly, Chad Cosgrave, George Cottle, Garvin Cross, Steve DeCastro, Jacob Dewitt, Alessandro Di Martini, Duane Dickinson, Wade Eastwood, Marny Eng, Rick English, Norman Epperson, Roel Failma, Mark Fichera, Marie Fink, Duffy Gaver, Daniel Girondeaud, Jason Glass, Leigh-Anne Graham, Terra Grant, Steve Griffin, Noureddine Hajoujou, Bobby Holland Hanton, Adam Hart, Logan Holladay, Sy Hollands, Gary Hoptrough, Dave Hospes, Jason Hunjan, Stephen Izzi, Terry Jackson, Ruth Jenkins, Dave Judge, Luke Kearney, Jess King, Jon Kralt, Theo Kypri, Nito Larioza, Tony Lazzara, Danny Le Boyer, Ed Lee, Maurice Lee, Terry Leonard, Gérard Lesage, James Lew, Michael Li, Aaron Lee Lopez, Philippe Losson, Diana R. Lupo, Kevin Lyons, David McKeown, Rick Miller, Sean Morrissey, Monia Moula, Neil Murray, Scott Nicholson, Lin Oeding, Audrey Ottaviano, Alexandre Ottoveggio, Sébastien Peres, Monte Rex Perlin, Norb Phillips, Andy Pilgrim, Cedric Proust, Mark Rayner, Rex Reddick, Simon Rhee, Michael Rich, Scotty Richards, Tracey Ruggiero, Tony Sagastizado I, Tony Sagistado, Brandon Sebek, Diz Sharpe, Gunter Simon, Paul Sklar, Jodi Stecyk, John Stoneham Jr., John Street, Tom Struthers, Melissa R. Stubbs, Mens-Sana Tamakloe, Philip Tan, Sam Trimming, Marlow Warrington-Mattei, Chrissy Weathersby Ball, Chris Webb, Jim Wilkey, Brent Woolsey, Harry Wowchuk, Richard Wu, Ryan Young, Othman Ilyassa, Terry Jackson

Camera and Electrical Department

Victor Abadia, El Mokhtar Aboukal, Colin Allen, Brahim Amarak, Adil Arbouch, Zakaria Badreddine, Wayne Baker, Greg Baldi, Sylvain Bardoux, Scott Barnes, Greg Beaton, Allan Belyea, Abderrahim Bissar, Dane Bjerno, Hans Bjerno, Kevin Boyd, Brannon D. Brown, Matthew Butler, Walter Byrnes, Adam Camacho, Steve Charnow, Jeff Chassler, Jean Chesneau, Wailoon Chung, Jonathan Clark, Cary Cooper, Pierre-Loup Corvez, John Crimins, Dan Cunningham, John Curran, Scott Daharb, David Draper, Antonin Drigeard, Jean-François Drigeard, Michael Duarte, Benjamin Edwards, Arthur Ehret, Charles Ehrlinger, Jonathan England, Derrick Esperanza, Hugues Espinasse, Darren Flindall, Raymond Flindall, Matt Floyd, Shawn Fossen, Christopher Franey, Ian Franklin, Chris Funk, Grégori Gajéro, Ray Garcia, Manuel Gaspar, Cory Geryak, Eric Gies, Mike Gould, Eugene Grobler, Thibaut Guenois, Steven A. Guerrero, Hassan Hajhouj, Alan Hall, Bob Hall, Graham Hall, Matthew Hall, Mark Hanlon, Eldon Hansen, Daniel Hegarty, Jason Hooper, Andy Hopkins, Ryan Huston, Nick Infield, Paul Jarvis, Damien Jousselin, Austin Keller, Martin Keough, Jason Kilgore, Sam Kite, Cyril Kuhnholtz, Thami Lahrach, Gary Lambert, Adam Lee, Stephen Lee, William Lehnhart, Gabriel J. Lewis, Stefan Lissner, Andy Long, Clive Mackey, Laurent Martin, Roger McDonald, Daniel C. McFadden, Danny McGee, Joe McGee, Kevin McGill, Charlie McIntyre, Tim Milligan, Yasushi Miyata, Ryan Monro, Polly Morgan, Melissa Moseley, Andy Munday, Ian Myron, Dara Norman, Frédéric North, Michelle Ortt, Brett Parnham, Gary Parnham, Scott Patten, Chris Patterson, Ben Perry, Matt Perry, Lyle Robbins, Brooks Robinson, Sky Rockit, Pete Romano, Shaun Sangkarat, Jeremy Schonwald, Dan Schroer, Brian Scotti, Allison Shok, Cricket Sloat, Kenny Solomon, Tony Sommo, Trevor Steeves, Ricky Stelling, James Summers, Larry Sushinski, Andrew Sykes, Naoki Takahashi, Don Telles, Matthew Thiemann, Andrew Thom, Neil Tomlin, Luke Towers, Benjamin Vial, Yuji Wada, David Wall, Landin Walsh, Jessica Ward, Rachel Wells, Joshua Whitford, Paul Wilkowsky, Carrie Wilson, Mark Wojciechowski, Eric Yu, Kevin Zanit, Jon Zarkos, Steve Zvorsky, El Mokhtar Aboukal, Logan Boettcher, Mark Boylee Boyle, Tomislav Culina, Dan Cunningham, Dave Cupp, Amie Gibbins, Jesse Johnson, Andrew Learmonth, David J. McGraw, Todd SanSone, Nathan Spencer, Benton Ward, Marcel Wassink

Casting Department

Maryellen Aviano, Lauren Cokeley, Jennifer Cram, Elaine Grainger, Barbara Harris, Brandi S. Hawkins, Jason Hilton, Zinedine Ibnou Jabal, Dylan Jury, Karim Kahkhani, Mariann H.W. Lee, Alyson Lockwood, Rose Wicksteed

Costume and Wardrobe Department

Lahcen Abbana, Othmane Ajana, Terry Anderson, Clare Banet, Amine Benkhayi, Kurt J. Blackwell, Pablo Borges, Phillip Boutte Jr., Leighton Bowers, Katherine Burchill, Laurence Caines, Patricia Colin, Ken Crouch, Caroline Delaney, François-Louis Delfolie, Zakia Essouci, Jeffrey Fayle, David Fernandez, Michele Flynn, Elizabeth Luiza Frank, Philip Goldsworthy, Warren Haigh, Sean Haley, Christine Hawes, Caroline Hickman, Cookie Lopez, Jessie Mann, Ciara McArdle, Sonny Merritt, Sarah Monfort, Heather Moore, Sarah Moore, Steven Moreno, Bob Morgan, Shelli Nishino, John Norster, Jennifer Nunez, Maureen O Heron, Nina Padovano, Steven Porch, Kelly Porter, Jamie Rama, Cheri Reed, Sarah Robinson, Ivory Stanton, Frances Sweeney, Dallis Swiatek, Jack Taggart, Nancy Thompson

Editorial Department

Mark Bankhead, Susan Bliss, Andrew Cave, Jimmy Christophe, Steven Cuellar, Kate Denning, Rich Ellis, K.C. Fitzgerald, Katie Hedrich, Edward Hobson, Charlotte Lamy Le Loet, John Lee, Eric A. Lewy, Donald Likovich, Clare McKee, Mark Miessner, Hailey Murray, David Orr, Daniel Paress, Ben Renton, Christy Richmond, Laura Rindner, Scott Wesley Ross, Alexis Seymour, Bobbie Shay, Mary Beth Smith, Jeff Smithwick, Paula Suhy, Nick Timms, Jeff Etcher, Jeff Pantaleo, Kostas Theodosiou, Nicholas Zimmerman

Location Management

Youssef Abagourram, El Mahjoub Ahbid, Lori A. Balton, Elhoussaine Baouzine, Driss Benchiba, Arnaud Boussac, Jason Collier, Nick Daubeny, Katrina Day, Akshay Desai, Mandi Dillin, Julianne Eggold, Kai Ephron, Andrew Ewert, Lorna Gatherer Ford, Julien Gayot, Michael Glaser, Khalid Guouram, Khalid Haberraih, Faical Hajji, Ronald M. Haynes, Jonathan Hook, Al Huynh, Ilt Jones, Arnaud Kaiser, Dan Kuzmenko, Christopher Lee, Greg Luscombe, El Hassan Ait Moudoud, David O Reilly, Kamal Ounejjar, Rino Pace, Manny Padilla, David Park, Emma Pill, David Pinnington, David Seaton, Tomohiko Seki, Jay St. Louis, Golden Swenson, Keomanee Vilaythong, Michael Wesley, Nancy Wong, Yvette Yurcisin

Music Department

Yasmeen Al-Mazeedi, Ryeland Allison, Christopher Anderson-Bazzoli, Roger Argente, Lorne Balfe, Mark Berrow, Ann Marie Calhoun, Chuck Choi, Peter Davies, Nick Delaplane, Matt Dunkley, Richard Edwards, Sam Estes, Geoff Foster, Bruce Fowler, Alex Gibson, Gavin Greenaway, Opie Gruves, Tina Guo, Zack Hemsey, Michael Higham, Lana Jackson, Andrew Kawczynski, Steven Kofsky, Peter Lale, Ny Lee, Roger Linley, Steve Mair, Johnny Marr, Jon Mattox, Aaron Meyer, Alan Meyerson, Amos Miller, Perry Montague-Mason, Kate Moore, Tom Pigott Smith, Anthony Pleeth, Satnam Ramgotra, Ryan Rubin, Howard Scarr, Adam Schmidt, Jacob Shea, Shalini S. Singh, Owen Slade, Darren Smith, Peter Oso Snell, Dave Stewart, James Thatcher, Helen Vollam, Allen Walley, Richard Watkins, Mel Wesson, Mark Wherry, Bruce White, Jonathan Williams, Andrew Zack, Warren Zielinski, Hans Zimmer, Rachel Bolt, Mae Crosby, Lori j Falzone chavez, Elizabeth Finch, Walt Fowler, Rick Giovinazzo, Kevin Kaska, Frank Macchia, Yvonne S. Moriarty, Ed Neumeister, Czarina Russell, Carl Rydlund, Mary Scully, Michelle Wolloff

Script and Continuity Department

Steve Gehrke, Max Vergara Poeti-Marentini

Transportation Department

Alexander Aben, Ryan Allen, Khalid Ameskane, Jim Atkins, Mounir Badia, Ali Bakkioui, Jamie Barham, Nicolas Baudry, Dwight Beard, Danny Bress, Steve Bridgen, Steven Brigden, Cammie Caira, Denny Caira, Kevin Caira, Jayson Chang, Kaiser Clark, Ian Clarke, Alice Cordie, Maxime Couteret, William M. DeLuca, Robert E Dingle, Eric Francks, Tyler W. Gaisford, Denis Gilmore, Ergun Halil, Teresa Haney, Darcy Healy, Charles Heidet, Ryan Herem, Tim Jefferis, Yann Jouannic, David Lewis, Chuck Martinez, Tim McGaughy, Charles Miambanzila, Colin Morris, Chris Morse, Pete Newman, Todd W. Nobles, Arlene Ramirez, Jason Reynolds, Olivier Suffert, Alexandre Thiery, Sean Thornton, Andrew Thurlbourne, Bruce Toy, Jason Vels, Chad Wadsworth, Terry Woodcock, Marc Zeni, Keith Whitham

Additional Crew

David Abramsky, Morgan Ahlborn, Rio Ahn, Nino Aldi, Erik Altstadt, Sam Alvelo, H. Leah Amir, Mardie Anderson, Ryan Babbs, Bob Bedard, Taoufiq Belemqadem, Brendon Bell, Omar Benbrahim, Bouchra Bentayeb, Mustapha Bentayeb, Richard Berkeley, Adam Berlinsky, Agnes Bermejo, Kohl V. Bladen, Rey Boemi, Kevin Boyd, Amanda Brand, Cheryl Brauer, Matt Brewer, Francie Brown, Kyle Photo Bucher, Valeria Bullo, David A. Burt, Hélène Cardona, RJ Casey, Malcolm Chalk, Jayson Chang, Sean Ip Fung Chun, Brian Clark, Kaiser Clark, Lisa C. Collins, Tommaso Colognese, Mickaël Conan, Kit Conners, Joe Crossley, Juliette Crété, Fabrizia Dal Farra, Kennedy Davey, Bryan Davis, Michael Davis, Darius de Andrade, Dionbowes, Stacey Douglas, Joe Downs, Helen Christine Dwyer, Poria Edalat, Josh Elwell, Dave Evans, Tony Fang, Michael James Faradie, Timothy Farmer, Lauren Fash, Glenn Ferrara, Jeff Feuerhaken, Caroline Fife, K.C. Fitzgerald, Tom Forbes, Hollie Foster, Jonathan Fox, Richard Franceschini, Colter Freeman, Kim Goddard-Rains, Evan Godfrey, Otniel Gonzalez, Carrie Gooch, Leigh-Anne Graham, Derick Green, Frédéric Greene, Linda Griffis, Khalid Guouram, Chris Hall, Alanna Hanson, Lindsay Heller, Robert Hoehn, Craig Hosking, Tara Howie, Jeff Hubbard, Pierre Hue, Carole Humphreys, Ryley Huston, Jason Inman, Jason Irizarry, C.J. Izzo, Carlton Jarvis, Kris A. Jeffrey, Bobbie Johnson, Kelly Johnson-Beaven, Ashlie Jump, Heather Kehayas, Stacey Kelly, Alex Kerr, Brian Kobo, Khadja Koulla, Max Kronick, Brian Kruse, Robert Lamkin, Ron Landry, Kelly Lane, Kerrie Lloyd, Michael Lloyd, Jordan Londe, Alex Loubert, Myriam Loukili, Bryan Lu, Harry Lu, Michael David Lynch, Aurélie Maerten, John Malakoff, Daniel F. Malone, Tucker Maloney, Gabriel Mamruth, Jean David Marianne, Hellen Marin, Jason Marsh, Luke Maxcy, Becky Maxwell, Olivia McCallum, Darin McCormick-Millett, Kyla McFeat, Fiona May McLaren, Mark McSorley, Helen Medrano, Nolan B. Medrano, Frédéric Millet, Emma Moffat, Michael Mungroo, Craig Myers, Richard Neale, Dillon Neaman, Tien Nguyen, Mandy Noack, Frédéric North, Samantha Nottingham, Emily O Banion, Simon O Connell, Shuhei Okabayashi, Benjamin A. Onyango, Peres Owino, Carrie A. Oyer, Adela Paez, Vincent Parker, Andy Parry, Gerson Paz, Peggy Pere, Francesco Pezzulli, Carlo Pratto, Kevin Proctor, Troy Proffitt, Michael Prokop, Alexandra Pursglove, Mohammed Hamza Regragui, Jamie Reiff, Mishi Reyes, Hallam Rice-Edwards, Alex Richard, Bruce A. Ross, Angela Rowden, Prashant Roy, Paul Michael Saldana, Dan Sasaki, Lena Schmigalla, Pollyanna Seath, Joss Skottowe, Zack Smith, Kori Sparks, Sarah Spearing, James Starr, Erin Stern Linares, Anthea Strangis, Dallis Swiatek, Matthew Switzer, Aya Tanimura, Derek Thorn, Katherine Tibbetts, Joel Tobman, Craig Topham, Sandralynn Trent, Barbara Unrau, Amy Venghaus, Ben Vokes, Brigitte Ward-Holmes, Jesse Warfield, Satch Watanabe, Jennifer Webb, Kevin Westley, Alexander Hamilton Westmore, Roger Williams, Richard S. Wilson, Jeff Winkle, Mike Woodley, Michelle Wraight, Richard Wulf, Sean Yopchick, Ryan Young, Tamara Young, Raymond Yu, David Zimmerman III, Ian Zweig, Mark Abraham, Keith Bass, Kriss TheDish Brown, Michael James Faradie, Christine Gilbert, Chelsie Machado, Nimo Mathenge, Megan Shields, Mike Staheli, Patrick Subarsky, Richard Wild


Jitendra Kumar, Diego Stocco


Action, Adventure, Sci-Fi


Warner Bros., Legendary Entertainment, Syncopy




English, Japanese, French





ImDb Rating Votes


Metacritic Rating


Short Description

Inception is a 2010 science fiction action film written and directed by Christopher Nolan, who also produced the film with Emma Thomas, his wife. The film stars Leonardo DiCaprio as a professional thief who steals information by infiltrating the subconscious of his targets. He is offered a chance to have his criminal history erased as payment for the implantation of another person s idea into a target s subconscious. The ensemble cast includes Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Elliot Page, Tom Hardy, Dileep Rao, Cillian Murphy, Tom Berenger, and Michael Caine.

After the 2002 completion of Insomnia, Nolan presented to Warner Bros. a written 80-page treatment for a horror film envisioning dream stealers, based on lucid dreaming. Deciding he needed more experience before tackling a production of this magnitude and complexity, Nolan shelved the project and instead worked on 2005 s Batman Begins, 2006 s The Prestige, and The Dark Knight in 2008. The treatment was revised over 6 months and was purchased by Warner in February 2009. Inception was filmed in six countries, beginning in Tokyo on June 19 and ending in Canada on November 22. Its official budget was $160 million, split between Warner Bros. and Legendary. Nolan s reputation and success with The Dark Knight helped secure the film s US$100 million in advertising expenditure.

Inception s premiere was held in London on July 8, 2010; it was released in both conventional and IMAX theaters beginning on July 16, 2010. Inception grossed over $828 million worldwide, becoming the fourth-highest-grossing film of 2010. Considered one of the best films of the 2010s, Inception won four Academy Awards (Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects) and was nominated for four more: Best Picture, Best Original Screenplay, Best Art Direction, and Best Original Score.

Box Office Budget

$160,000,000 (estimated)

Box Office Opening Weekend USA


Box Office Gross USA


Box Office Cumulative Worldwide Gross



Dream,ambiguous ending,subconscious,mindbender,surprise ending