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Leonardo Di Caprio: I apologize, I wasn’t listening.
Tom Hardy: For me, personally, it was easy to orientate which dream sequence I was in because of my costume.
Hans Zimmer: It was also a fun thing to do, because at one point the ambition was for Chris and I — we like having a chat about these things.
The ambitions are at one point you have the Edith Piaf song going on in 4/4 which cuts across a different time in ¾ and all these different sorts of puzzles and these Penrose, Roger Penrose-type constructions, and I think Chris and I were really pleased that we had three different times going on, three different things going on.
And that’s a testament to how engaging movies are, and the visual medium is.
Q: This question is for Christopher Nolan and Hans Zimmer.
For you, in terms of shooting this film, were there ever any moments where you were thinking “Okay, can we recap where we are and what’s going on here?
I suppose that at a point, keeping something secret does lend itself to its own degree of hype — but I don’t really think of it as secrecy. you know, we invite the audience to come and see it based on some of the imagery and some of the plot ideas and the premise, but we don’t want to give everything away.What was very interesting for me was reading the original screenplay — and obviously this story structure was extremely ambitious in the fact that simultaneously, you had four different states of the human subconscious that represented different dream-states, and each one affected the other.What Chris talked about very early on with us was being able to go to these six different locations around the world, [and what] was startling to me in how complicated the screenplay was seeing it in a visual format. You clearly identify one scenario with the other, and it’s a completely different experience.The snow-capped mountains of Canada, or whether you’re in a van or a L. elevator shaft or Paris or London — you experience it and you have a visual reference.
And it was a lot easier to understand than I ever thought it would be.And I’d been working on the script for some time, really about ten years in the form that you’ve seen it in, where [there’s] this idea of this kind of heist structure.