![]() "We discussed the idea of Limbo having started out as an idealistic modernist city that collapses back into the sea of Cobb's subconscious," Franklin explains. During pre-production both the art department and vfx worked on concept designs for Limbo City, devoting particular attention to the collapsing shoreline, but nothing clicked for Nolan, who was in search of something truly original and spectacular. Dneg CG Supervisor Ali Wortman created a previs animation of the folding street, which Chris then used to cue DiCaprio and Page as they stood on the Paris location - Chris holding my laptop in his hands and directing the actors to look at the imaginary streets as they arced overhead."Īccording to Franklin, the design for the subsequent dream states came primarily from the locations and art departments (under Nolan's guidance), with the exception of Limbo City. ![]() This then became the basis for the design of the folding street, hidden mechanisms suggesting a logical underpinning to Ariadne's dream world. "With the Paris sequences, Guy Dyas and his team had already produced some early concept images of how the folded streets would look when completed, but there was no indication of how we might go from normality to the 'cube city.' One of the great things about Inception was that it was the third time around for me on a Chris Nolan film, so I was able to draw on things that we had both experienced whilst working on the Batman films: We talked about watching the draw bridges over the Chicago River being raised, which include sidewalks and lamp posts as well as the road surface and how, from certain viewpoints, it looked as if the street itself were lifting up on a giant hinge. "The visual effects of Inception needed to integrate seamlessly with Wally Pfister's stunning cinematography which - for the most part - was hand-held in full daylight, giving it an immediacy that placed extraordinary demands on the vfx pipeline and the team at Double Negative. "In terms of the way that the dream worlds were depicted cinematically, the aim was to present everything with the conviction of total reality, as it was essential to the plot that the dreams appear real to the people experiencing them," Franklin continues. Production Designer Guy Dyas and his art department team gathered an extensive library of architectural reference, which the vfx team then built upon through post- production to develop a strong language of structure and style that drew heavily upon the history of modern architecture throughout the 20th century, especially for the climactic scenes in Limbo. "Whether it's through the manipulation of structures to show the power of the dreamers, as in the folding streets of Paris, or in the crumbling towers of Limbo, which symbolize the advancing collapse of Cobb's mental state, the design of the built environment is always significant," explains Paul Franklin, the overall visual effects supervisor, who collaborated with Dneg's Pete Bebb, the CG supervisor, and Andy Lockley, the 2D supervisor, among others. So imagine Double Negative's challenge in trying to help visualize multiple dream states from director Chris Nolan's furtive imagination all interacting together. At its core, though, it's really about the all-consuming struggle to create an original work. Check out the Inception trailers and clips at AWNtv!Ī lot has already been written about the relationship between dreams and movies in Inception.
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