C H R I S T O P H E R N O L A N & I N C E P T I O N

B S A 2 0 6 - C A L E B M O O D Y - F I N A L P R E S E N TAT I O N

O V E R V I E W O F P R O P O S A L

T H E D I R E C T O R : C H R I S T O P H E R N O L A N

Known for films such as The Dark Knight trilogy (2005, 2008 & 2012), Inception (2010) and Interstellar (2014)

His films have a distinct flavour and include commonalities such as in-camera practical effects, crosscutting between multiple scenes of parallel action, non-linear timelines and neo noir-esk lighting. (“Christopher Nolan Biography”, n.d.)

T H E M O V I E :

Nolan, C, (2010)

T H E S C E N E : C O B B C O N F R O N T S M A L

This takes place as Cobb and Ariadne enter Limbo to find Fischer and get him back to the third dream level and finish the job. Unable to find him at first, Cobb realises where Fischer would be - with Mal.

This scene is important to the movie because it explains what happened to Mal and how Cobb knew inception would work.

Cobb realises in this scene that in order to complete the mission, he has to deal with the guilt of his past and find closure with Mal.

Nolan, C, (2010)

T H E S C E N E : D I R E C T O R ’ S I N T E N T I O N S

In this scene, Nolan takes us on a rollercoaster of emotions insight into the characters.

We are thrown head first into the battle that has been consuming Cobb’s mind. And through this revelation and the use of cross-cutting, the tension is built until finally we feel relief as Cobb finally deals with the past and is able to move on.

Nolan, C, (2010)

T H E S C E N E : T E C H N I Q U E S & M E A N I N G S

The main technique Nolan uses in this scene to convey meaning and emotion is his use of dolly shots.

Both the speed and direction of the dolly informs the meaning attempted to be conveyed.

P U S H I N S

Emersion and closeness. We are drawn into the character’s mind.

D O L LY O U T S

Abandonment and isolation. The character is enveloped in their environment.

Nolan, C, (2010)

T H E S C E N E : T E C H N I Q U E S & M E A N I N G S

The lighting of the scene.

S TA N D A R D L I G H T I N G

Emersion and closeness. We are drawn into the character’s mind.

D Y N A M I C L I G H T I N G

As the scene progresses, the exterior lighting darkens as a storm builds, amplifying the intensity of the situation as it increases.

Nolan, C, (2010)

M Y M E T H O D S A N D E X P E R I M E N TAT I O N

D O L LY S H O T S : H O W A N D W H Y

Push-in = emersion, closeness. We are drawn into the character’s mind.

Dolly-out = abandon and isolation. The character is enveloped in his environment.

This was accomplished with a slider as an actual dolly was too difficult to use.

M Y M E T H O D S A N D E X P E R I M E N TAT I O N

D Y N A M I C L I G H T I N G

I have done some testing with changing the lighting practically using the Aladdin.

However, I watched the scene again realised that put, together, it was very long and the changes happen gradually- something I couldn’t do in a minute.

M Y M E T H O D S A N D E X P E R I M E N TAT I O N

For the tests, I used an Aladdin as it was light, battery power and dimmable.

T E S T # 1

For this test I kept the light in one place and just used the dimmer to make it brighter. Done too late at night.

M Y M E T H O D S A N D E X P E R I M E N TAT I O N

T E S T # 2

Earlier in the day. I kept the light on, and physically moved it closer my subject. However, the sun overpowered the light.

T E S T # 3

This time I turned my subject away from the sun. This worked better.

F I N A L R E S U LT SFor my final outcome a have two scenes using different speed and directions to showcase how dolly shots enhance the emotion and meaning with in the scene.

R E F L E C T I O N O F S U C C E S S

W H AT D I D W O R K

I think the dolly shots effectively convey the emotion in each scene. In the first scene, the slow push in brings us in to the conversation and we engage with the character.

In the second scene, the quicker dolly out increases the feeling of loneliness as he grows smaller in the frame.

I also think I was able to capture something similar to Nolan’s use of three quarter lighting.

W H AT D I D N ’ T W O R K

As much as I enjoyed testing with practical light changes, in the end I wasn’t able to come up with a way to use it to imply meaning, especially in 60 seconds.

The other problem is that even though the light changed on his face, the background remained the same.

C O N C L U S I O N

Through this project I was hoping to explore the techniques used by Christopher Nolan in Inception.

Throughout the process have learned more about how dolly shots can be used to convey meaning and emotion.

I also learned that it’s important to know and be aware of how methods and techniques can enhance the meaning and emotion in a scene and be intentional about it.

Nolan, C, (2010)

R E F E R E N C E S

Danowski, P. (2017). The Old-Fashioned Way: Christopher Nolan’s Commitment to Shooting on Film. mxdwn.com. Retrieved from: https://movies.mxdwn.com/feature/the-old-fashioned-way-christopher-nolans-commitment-to-shooting-on-film/

Moseley, M. (2010) Christopher Nolan in Inception. Image Retrieved from https://www.imdb.com/name/nm0634240/?ref_=nv_sr_1?ref_=nv_sr_1

Nolan, C [Director]. (2010) Inception [Motion Picture]. United States. Warner Bros. Entertainment Inc.