“(On "Following") We've got a pretty serious claim on being the cheapest film ever made.”

“ARTHUR: How do we get out once we've made the plant?(to Cobb)I hope you've got something a little more elegant than shooting me in the head like last time.Arthur tilts back in his chair. Yusuf turns to Cobb.COBB: A kick.ARIADNE: What's a kick?Eames slips his foot under Arthur's chair leg. TIPS it- Arthur's legs SHOOT UP INSTINCTIVELY for balance-EAMES: That, Ariadne, would be a kick.COBB: That feeling of falling which snaps you awake. We use that to jolt ourselves awake once we're done.”

“...I studied English Literature. I wasn't a very good student, but one thing I did get from it, while I was making films at the same time with the college film society, was that I started thinking about the narrative freedoms that authors had enjoyed for centuries and it seemed to me that filmmakers should enjoy those freedoms as well.”

“Superheroes fill a gap in the pop culture psyche, similar to the role of Greek mythology. There isn't really anything else that does the job in modern terms. For me, Batman is the one that can most clearly be taken seriously. He's not from another planet, or filled with radioactive gunk. I mean, Superman is essentially a god, but Batman is more like Hercules: he's a human being, very flawed, and bridges the divide.”

“I always find myself gravitating to the analogy of a maze. Think of film noir and if you picture the story as a maze, you don't want to be hanging above the maze watching the characters make the wrong choices because it's frustrating. You actually want to be in the maze with them, making the turns at their side, that keeps it more exciting...I quite like to be in that maze.”

“EAMES: Try this... "MY FATHER ACCEPTS THAT I WANT TO CREATE FOR MYSELF, NOT FOLLOW IN HIS FOOTSTEPS."COBB: That might work.ARTHUR: Might? We'll have to do better than that.EAMES: Thanks for the contribution, Arthur.ARTHUR: Forgive me for wanting a little specificity, Eames.”

“EAMES: Word is, you're not welcome in these parts.COBB: Yeah?EAMES: There's a price on your head from Cobol Engineering. Pretty big one, actually.COBB: You wouldn't sell me out.Eames looks at Cobb, offended.EAMES: 'Course I would.COBB: (smiles) Not when you hear what I'm selling.A ramshackle balcony overlooking a busy street. Eames pours.COBB: Inception.Eames' glass stops halfway to his mouth.COBB: Don't bother telling me it's impossible.EAMES: It's perfectly possible. Just bloody difficult.COBB: That's what I keep saying to Arthur.EAMES: Arthur? You're still working with that stick-in-the-mud?COBB: He's a good point man.EAMES: The best. But he has no imagination. If you're going to perform inception, you need imagination.COBB: You've done it before?EAMES: Yes and no. We tried it. Got the idea in place, but it didn't take.COBB: You didn't plant it deep enough?EAMES: It's not just about depth. You need the simplest version of the idea-the one that will grow naturally in the subject's mind. Subtle art.”