Cobb Name Change: Fill & Download for Free

With the exception of Deke Slayton, most of the rest of the “historic” astronauts are background characters or only appear in stock footage.Ed Baldwin’s closest historic parallel is John Young, a Navy pilot who flew Gemini missions, was Lunar Module Pilot on Apollo 10 (the “dress rehearsal” for Apollo 11), and subsequently commander of Apollo 15 (in the series, the mission Ed and Molly Cobb land and find water ice).Gordo and Tracy Stevens are pretty clearly based on Gordo and Trudy Cooper (Trudy, like Tracy, was an accomplished pilot in her own right), but Cooper did not fly on Apollo 10 or any other Apollo missions. He was backup commander for Apollo 10 but that’s as close as he came.Molly Cobb is based on Geraldyn Cobb, one of the “Mercury 13” women who went through spaceflight screening tests.

What a beautiful artifact! I haven't been able to pinpoint the date, but based on the way the Middle East is cleanly chopped up, I'd wager that it's closer to WWI that WWII.It says Siam instead of Thailand, so pre-1939.Company founded in 1930, so post then.Manchuria was successfully conquered by Japan and the name was changed to Manchukuo on 2/27/1932, so after that.Persia was changed to Iran in 1935, so newer than that.Ethiopia is under Italian control, so after 1936.Germany has not yet annexed Austria, so before 1938.It seems to be around 1937, give or take a year.

In an interview about the ending, Christopher Nolan says Cobb is an unreliable narrator and that yes, the film's intention is to make you wonder if the entire movie is all in his head, and if the ending means that he is still dreaming.He also said that anyone who thinks that the ending should be interpreted as Cobb having really been awake and succeeded in getting home is not considering the real point and the hints in the movie.He literally discounts several interpretations offered to him in the interview, and then the one single theory he proceeds to explain as making sense, and that he notes was his intention, is for the audience to question the entire reality of the film and to realize Cobb's perception cannot be trusted and that he may be stuck in a dream.The shooting script, the actual final version edited and released for sale to the public, ends by saying the top doesn't stop, that it just keeps spinning. The rest of the script includes many moments that hint heavily that Cobb could be dreaming everything in the entire film and that he may be living in a fantasy world even when he thinks he's awake. The "rules" the film establishes for how to get out of dreams and limbo etc, if you watch closely, suggest Cobb and Mal may not have fully awakened from their previous limbo period and that Mal's suspicions they were still dreaming might indeed have been true (or Mal was perhaps never real, and just a figment of Cobb's imagination in a higher level of dream-state? or a memory of a person/wife he lost in real life previously? many options here).Anyway, the truth of the film's ending is that at the very least you are meant to realize that reality is questionable for Cobb, and that it's not clear if he ever really woke up, and he might still be stuck in a dream. That's at the very least, and that's according to the filmmaker himself and also according to the screenplay.Taken a step further, that ambiguity coupled with hints in the film and the themes should suggest strongly that all reality in the film is dubious, that Cobb is probably still dreaming, and that the real point is that he doesn't care -- it wasn't about waking up or being certain he fixed his life in reality, it was about "getting home," and if that was only possible within a dream reality then so be it. Cobb walks away from the ever-spinning top because the outcome no longer matters, he is home where he wants to be, real or not, and it's the best he'll ever get and it's the reality he chooses to accept. That is ultimately the key to understanding the ending of Inception, and indeed its primary point all along.If some folks want to think there's an absolute "he was awake for sure" answer, they can feel that way and enjoy the film that way if they prefer, but it's just not the reality of the situation (no pun intended). The film was made precisely to leave you questioning the reality all along, to make you realize he may not really be awake at the end, and to strongly hint that indeed he's not awake and it's all been a dream but that it doesn't matter to him (he may have even on some level known he was choosing to accept a dreamscape as his "reality"). The filmmaker himself insists the ending is at the very least ambiguous and that probably you need to hint-hint assume Cobb's perception can't be trusted and that reality is in question.Note: The "ring theory" is popular online, but is not actually hard to debunk. The point is that Cobb believes in one particular setting as "reality" for him, so the fact he might have his ring on at those times only means we know we're in the version of things that he thinks is "real" -- if that world isn't real, he can just project the ring onto his finger. It's just another dream world, and in that one Cobb has his ring as a symbol in his mind of being forever wed, and a symbol of his family being his goal. It has nothing to do with proving that those moments are real or not. And the ring isn't a totem, the entire rule of a totem is precisely that it only works if you have it in BOTH reality AND the dream world. The lack of the ring in the overt dream worlds is itself a glaring indication it can't be his totem as it would never serve the purpose of a totem. Cobb uses the top as a totem, taking it with him through all levels -- from his perceived reality to his dreams. The rules for totems, and Cobb's explicit explanation of the top as his totem (and WHY he chose it as his totem) are made very clear throughout the film.Note #2: This question was merged with another one where I had an answer that is relevant here, so I have two answers on this question (the other one is collapsed now). So below is the content from that other answer, since it adds to this one and supplies greater details and points (and links) that back up the notion it was all a dream. Some of it about Chris Nolan's remarks is repeated from above, but the rest is all additional worthwhile discussion about the truth behind the film's ending...______________________________________________I don't want to just repost posts from elsewhere, but since this question or versions of it, and versions of the answer to it, pop up on other questions about Inception I thought I'd just link to two other places where I posted a very lengthy explanation of why I think the entire film was all a dream:In Inception, if totems are personal, why does Cobb use his wife's totem?Inception (2010 movie): Why didn't Cobb wake Mal up by killing her in limbo?To that, I'd remind viewers that the character names all have alternate meanings and interpretations, that throughout the film there are very classic signs of dream-state even when Cobb is supposed to be in the "real world," that many people keep trying to convince him to "wake up" or "come back to reality," and that at several points the supposed rules for waking up are overtly and repeatedly shown to be in contradiction to what happened with Cobb and Mal.Notice, too, that a lot of the 'problem' Cobb has makes no sense. He sees Prof. Miles (Caine) in France, remember? But then Caine is back in the USA taking care of Cobb's kids. Okay, why didn't Caine simply bring the kids to France where they could see Cobb sometimes? Especially since Cobb makes it clear that he's relatively safe from extradition in France at that time. There are so many easy ways around Cobb being unable to get home to see his children again -- except that of course this is just another version of his inability to see their faces in his dream elevator world, where he makes it very clear that he has to find a way to "change this memory" as he puts it, that he must figure out how to earn redemption so he can see them turn around to face him. So they remain aloof and unseen and unreachable in his "real world" despite how easy it should be for him to get to see them, if Miles teaches in France.Finally, as a "cheat" perhaps, I'd point out that the shooting script itself makes a point of using specific style in how it notes when a totem reveals things are a dream or not, and the very last image in the script says clearly in all caps that the top is continuing to spin. Every time previously that Cobb spun the top and it fell, it only spun for a couple of seconds or so and then fell, but at the end it's a much longer time and the top is still spinning and spinning. So at the very least, it seems to strongly suggest the final scene is a dream of wish-fulfillment.I'd add, by the way, that the totem does represent a broader concept of acceptance or denial of reality and the dream-state, so it is ultimately only a sign of the perception of the person. In the end, one thing to keep in mind is that if the top keeps spinning and Cobb seems to be ignoring it, does that subtly imply that he will suffer the same sense of "nothing is real" that Mal experienced? That has implications worth exploring, too.EDIT: I don't want to be a jerk or anything, but I want to clear up some misconceptions. Michael Caine has said publicly that the top drops at the end and that his character is never in "the dream," and that he "invented the dream." Caine, to put it bluntly, is infamous for making false public claims about the films he's been in, and often says things in interviews that are his own pure speculation or opinion, and sometimes just kind of really outrageous. He is not speaking in any official capacity, he's just giving his off-the-cuff thoughts that he thinks sounds good or right at the time. His statements about the end of Inception contradict Nolan's own explicit remarks about the film's ending ambiguity, and likewise contradict the shooting script of the film that ends by stating the top continues spinning.The idea that there's any official certain truth about the end just isn't true -- the entire point of the narrative is that neither Cobb nor the audience can be sure if anything is real or not anymore. There are constant clues that the whole film might all be a dream, and that Cobb may have never left the dream world after he and Mal first got lost in it. Or maybe he did escape, but the death of Mal caused him to increasingly hide in his own memories in dreams to the point he is losing his grip on reality, and the top spinning at the end represents the idea he'll never fully trust that he's in the real world -- or maybe he walks away from the top while it's still spinning because now that he's made it "home" he doesn't care anymore if it's "real" or not (because it will be the reality he chooses to live in and accept, regardless). There are many interpretations, and the film doesn't show the top falling and doesn't have any single secret piece of hard evidence that can be used to tell what's real and what isn't -- so Caine's claim that all the scenes he's in are "real" is just his opinion and not at all any official statement on the matter. If the whole film is a dream, as is clearly one of the possibilities Nolan suggests with a lot of major clues through the film, then every scene Caine appeared in is of course also part of a larger dream world.So point is that anyone reading Caine's claims can choose to interpret the film the way he does, of course, but nobody should make the mistake of thinking that Caine's remarks in any way make it official or represent any official "fact" about the film.EDIT #2: Just to make it as clear as possible, here is Christopher Nolan himself explaining the ending and which different theories are more likely and less likely etc, and finally noting that yes, of course the ending is meant to be ambiguous...Christopher Nolan Debunks ‘Inception’ Theories, Sorta Explains The MovieHe says openly and bluntly that accepting the ending as "real" gives Cobb too much credit, and that you have to remember Cobb is "an untrustworthy narrator."He also says assuming that ONLY the ending is a dream of reality is also not really accurate.When asked if the WHOLE MOVIE is a dream, he says, "I don't think I'm going to tell you about this." Then he says, "For the ambiguity at the end to work, you need to see that Cobb’s world and the dream world are very similar. And you need to doubt Cobb."So no, if you think the film's ending is ambiguous, you aren't scum or dumb or anything of that sort. You are merely doing exactly what the filmmaker himself specifically intended -- understanding the narrative of the film, the metaphors, the hints, and realizing that the nature of Cobb's reality is ambiguous and open to interpretation.