When Inception was released back on July 16th, the strikingly original film shook up a summer marketplace filled with derivative sequels and unfortunate remakes that had critics decrying the creative barrenness of studio films. Which is why writer-director Nolan garnered respect from Hollywood for using his clout from Batman Begins and The Dark Knight to film his own long, gestating spec script from an idea that had rattled around in his head for a decade. Inception is a movie with many layers and a dense plot, allowing Nolan to ride a familiar genre but then arrive at a new place. Sure, the box office was well-trod turf for him: $825 million worldwide. But, first, he had to imagine himself in the dream world of Inception before he took audiences there.
DEADLINE: How was writing Inception different for you?
NOLAN: What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I’m watching onscreen. Sometimes, that means I’m discovering things the way the audience will, with character and story. Other times, you’re plotting it out with diagrams and taking a very objective view. Writing, for me, is a combination of both. You take an objective approach at times to get you through things, and you take a subjective approach at other times, and that allows you to find an emotional experience for the audience. This was one of those projects that burned inside me for a long time, but I wouldn’t say in a completely unique way. I made a film earlier called The Prestige. For four or five years, that burned inside me. It was something I really wanted to crack with my brother Jonah, and eventually we did it. I certainly have other ideas I’ve not been able to crack that I see great potential in, sitting in the back of a drawer. You never quite know what you’re going to come back to and figure out how to make it work. You never quite know where that desire to finish something, or return to something in a fresh way, is going to come from. Every time I finished a film and went back and looked at it, I had changed as a person. The script was different to me. And, eventually, who I was as a writer, as a filmmaker, and what the script needed to be, all these things coincided.