And that's the big problem here; the new legend is even more preposterous than the one of him taking from the rich and giving to the poor War movies. It's all skillfully handled and a lot of credit has to go to the editing of the film -- especially in the film's second half where eventually we end up seeing Cobb's team dealing with the main dream and then three stages of dreams within the main dream. This could easily become confusing if you don't have a deft touch on the cutting room floor War movies. As complicated as this becomes, it's never confusing to follow -- as long as you're paying attention. Kudos to Mister Nolan and film editor Lee Smith (Smith should get an Oscar nomination for his work here) War movies. This control of narrative is seen throughout the film. The elliptical editing in the opening scenes dictates the rest of the film, conveying the streamlined nature of dreams visually War movies. Similarly, the mythological allusions - Ariadne, her labyrinth, Mal as the Minotaur at its centre, the threads that tie the dreamer to the dream machinery - are subtle reinforcements of the film's ideas War movies.