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Primer. Auteur Réalisateur Producteur Acteur (Aaron) Monteur Musique 7000$. Shane Carruth. Le climat scientifique Humour Personnalités et évolution Défi narratif. éléments d ’ appréciation.

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Shane carruth

  • Auteur

  • Réalisateur

  • Producteur

  • Acteur (Aaron)

  • Monteur

  • Musique

  • 7000$

Shane Carruth

L ments d appr ciation

  • Le climat scientifique

  • Humour

  • Personnalités et évolution

  • Défi narratif

éléments d’appréciation

Climat scientifique

“I was a software engineer, so I know hardware engineers, I know physics people and I researched all of it to make sure that what they're saying is true, and I would run it by people to make sure, but I don't have any direct experience with that world. That's just from reading and stuff.” (Interview)

Ingénieurs ingénieux et sans moyens

Expériences et découvertes

Ton des discussions

Supraconductivité, palladium et argon, schémas de Feynman

“We can publish”“This is not empirical”“There’s always leaks”

Climat scientifique

La narration

  • Fabula et Syuzhet

  • Voix off, flash-back, ellipses

  • Illustrations par l’image (Abe et Aaron) différentes de ce qu’explique la voix off (premier voyage de Abe)

  • Tous les éléments sont dans le film

La narration




“Here's what's going to happen. l'm going to read this and you're going to listen,and you're going to stay on the line. You're not going to interrupt. You're not going to speak for any reason. Now, some of this you know. l'm going to start at the top of the page. Meticulous, yes. Methodical. Educated. They were these things Nothing extreme. Like anyone, they varied. There were days of mistakes and laziness and infighting. And there were days, good days, when by anyone's judgment they would have to be considered clever. No one would say that what they were doing was complicated. lt wouldn't even be considered new. Except maybe in the geological sense. They took from their surroundings what was needed and made of it something more.”



  • Abe révèle progressivement à Aaron ce qu’il a découvert

    (scène sur le banc, oreillette)

  • Moisissures

  • Le blocage du temps dans la machine (paraboles, Feynman)

  • “This isn't frame dragging or wormhole matching”

  • L’idée de remonter dans le temps

  • Le hangar et la vision de Abe


Principe du voyage dans le temps dans primer



(Coexistence de Abe et Abe*)


Abe dort dans la machine

Abe rentre


la machine

Abe met le

minuteur à


La machine


Abe se retire à l’hôtel et regarde la bourse

Abe* sort

Principe du voyage dans le temps dans Primer

Abe(*) continue


Abe* agit pendant 6h

Joue en bourse

Caract ristiques du voyage

  • Seulement vers le passé

  • Création d’un double (même passé jusqu’à l’arrivée du voyage)

  • Eviter les paradoxes: séparer les deux doubles

    “lf we're dealing with causality, and I don't even know for sure. I just took myself out of the equation”.

  • Effets de la répétition des voyages: saignement, écriture

    “I can imagine no way in which this thing would be... considered anywhere remotely close to safe. All I know is I spent six hours in there and l'm still alive. You still want to do it?”

    “I remember this moment... in the dark with the reverberation of the machine. It was maybe the most content l've ever been.”

Caractéristiques du voyage

R gles suivre

Rules to Follow to Evade Causality Paradoxes or Generally Screwing Your Life Up
1. Do not disturb The Box after you exit as you or your double is in it.
2. When re-experiencing time, stay away from your double until he/she has started his/her journey backwards.
3. Worry about yourself first. Now is the only moment that has to make sense

Règles à suivre

Lundi reprise

  • 8.30 Abe programme la machine (Box A) pour 8h45.

  • 15h15 Retour au hangar, arrête la Box A, et entre dedans avant l’arrêt complet. Il attend (dort) 6h1/2

  • 8h45 Abe* sort de la Box A, et va retrouver Aaron

  • Diverses étapes (moisissure, montre)

  • Vers 15h, devant le hangar: arrivée de Abe

  • Plusieurs explications: minuteur, isolement

    “So they’re one time use only”

Lundi (reprise)


  • Abe(*) et Aaron font le voyage “You got out too soon”

  • Journée : Opérations en bourse

    “All that matters is the price goes up. The volume is so high that the number of shares we trade won't affect the price”

  • Soir : conversation avec Kara

  • Que faire avec une fortune soudaine?

  • Le bruit dans le grenier (rats, oiseaux?)

  • Joseph Platts.

  • Abe: “We can’t do that”. Voix off (Aaron?): “But the idea had been spoken. And the words wouldn’t go back once they had been uttered aloud”.



  • Discussion à la station essence : paradoxes, libre arbitre, paranoia, prédestination

  • “The worst thing in the world is to know that the moment you are experiencing... has aIready been defined, that this is the second... or third time through, or whatever”.

  • “I'm not Iike that. I'm not into the whoIe ''destiny, there's-onIy-one-right-way'' thing.”

  • “I'm not, either. But what's worse? Thinking you're being paranoid or knowing you shouId be?”

  • Abe(***) apprend que lundi soir, Aaron s’est opposé à l’ex-boyfriend de Rachel, armé, dans une party, en risquant sa vie

  • Soir: dans un jardin Abe(***) le reproche à Aaron(**)



  • “I haven’t eaten since later this afternoon”

  • Le match de football

  • A l’hôtel, le téléphone d’Aaron(**) sonne, il répond

  • Dans la rue, le téléphone d’Aaron*(***) sonne, il ne répond pas

  • “I think we broke symmetry”



  • 2h Abe(****) est réveillé par des jeunes dans la rue. Propose à Aaron d’aller chez Platts.

  • Abe apprend à Aaron(***) qu’il a remis les machines en marche à 17h (comme tous les jours):

    “I started going by at 5 and turning them on, 5 p.m. I got tired of the whole unanswerable question”.

  • 3h rencontre de Granger, le père de Rachel, en fait Granger*

  • Hésitation à ouvrir la machine

  • Comment? Pourquoi?

    “sometimeswe do things but don't know how we got to that point”


R flexions

  • “The permutations were endless”

  • “The problem was recursive”

  • “We didn't have any contact with him in the 3 hours he couId've done anything. I know he changed this. I know we weren't having this conversation the first time... so you don't know what we Iost”.

  • “It reaIIy couId not have been much”.- “It doesn't matter how much. It just matters that it's changed”.


Lundi 2

  • Le “failsafe” (3 jours et 22 heures : lundi 5h)

  • 5h Abe*(*****?) gaze Abe et le cache

  • Milieu de journée: deuxième scène du banc dans le jardin – l’enregistrement

Lundi (2)


  • 2e scène: conversation enregistrée, Aaron(?) joue son rôle

  • Retour, mais premier retour?

  • 1ère scène: les deux semblent aussi réciter leur rôle

  • “At this point there would have been some discussion”



  • La découverte du failsafe.

    “They are not one-time use only. They are recyclable”

  • Aaron II est celui qui parle en voix off

    “And Aaron would describe how simple things become... when you know precisely what someone will have for breakfast... even in a world of tamper-proof lids. How? And that's where I would have entered the story. Or exited, depending on your reference”.

  • Aaron I, Aaron II et Aaron III


Lundi 2 apr s midi

  • Aaron III et Abe II: le préenregistrement des conversations.

  • Discussion dans le garage: refaire l’intervention dans la soirée.

  • “We know exactly what happens. We have complete control over it”.

  • “He didn’t do it tonight”. “We know everything. Okay? We're prescient”.

  • Le problème de l’écriture

Lundi (2) après-midi

Lundi 2 soir

I can tell you with certainty what I did that night when it was my turn. But I think it would do little good, because what the world remembers... the actuality, the last revision is what counts, apparently. So how many times did it take Aaron... as he cycled through the same conversations... lip-synching trivia over and over? How many times would it take before he got it right? Three? Four? Twenty? I've decided to believe that only one more would have done it. I can almost sIeep at night if there is only one more. Slowly and methodically, he reverse-engineered a perfect moment. He took from his surroundings what was needed... and made of it something more. And once the details had been successfully navigated... there would be nothing left to do but wait for the conflict. Maybe the obligatory last-minute moral debate... until the noise of the room escalates into panic... and background screams as the gunman walks in. And eventually he must have got it perfect and it must have been beautiful... with all the praise and adoration he had coming. He had probabIy saved lives, after all. Who knows what would have happened if he hadn't been there?

Lundi (2) soir

Mardi 2

  • Aéroport Abe II(?) et Aaron III(?).

  • Pendant ce temps Abe I et Aaron I se réveillent et sortent.

  • Discussion: partir/rester (argent, passeport), empêcher?

  • Aaron : “why don't you take Kara and Lauren and put them in the box... and then you and Aaron can each keep a set and you can stop feeding off it. You can each keep a set and a hemisphere.”

  • Abe: “Go out there. Do whatever the hell you want. There's no way in the world I can stop you. But don't come back here... and don't come near them. Any of them.”

Mardi (2)

A l autre bout du monde

  • Aaron II termine son message téléphonique à Aaron I, pendant qu’il (?)dirige la construction d’une machine en France de la taille d’un hangar

  • “Now I have repaid any debt I may have owed you. You know all that I know. My voice is the only proof that you will have of the truth of any of this. I might have written a letter with my signature... but my handwriting is not what it used to be. Maybe you've had the presence of mind to record this. That's your prerogative. You will not be contacted by me again.”

  • “And if you look, you will not find me”.

A l’autre bout du monde



Trois th ories du temps pour le voyage dans le pass

  • Le temps fixe

  • Les dimensions temporelles multiples

  • Le temps modifiable

Trois théories du temps pour le voyage dans le passé

3 possibilit s de modification

D’après M. J. Young (Time travel movies Examiner)

3 possibilités de modification

Le pass est toujours chang 1 er voyage d abe

  • Saut en N

Le passé est toujours changé (1er voyage d’Abe)

Le probl me du t l phone

(1) Le téléphone sonne et Aaron répond à l’hôtel

(2) Aaron*ne répond pas dans la rue et le téléphone ne sonne pas à l’hôtel

(3) Aaron** répond dans la rue et le téléphone ne sonne pas à l’hôtel

(4) Aaron*** répond dans la rue

Dent de scie avec un saut en N

Le problème du téléphone

Le coup donner et effacer

  • Abe entend du bruit et va chez Platts avec Aaron puis ils voyagent vers le passé

  • Abe*et Aaron* empêchent le bruit et Abe et Aaron ne vont pas chez Platts

  • Alors Abe n’est pas reparti à 3h et il n’y a pas de Abe* pour empêcher le le bruit

  • Alors Abe entend du bruit et va chez Platts avec Aaron puis ils voyagent vers le passé

  • Alors = (2)

    Boucle infinie, effet nœud papillon

Le coup à donner et à effacer

The party

  • Abe et Aaron ne sont pas à la soirée, plus tard Aaron(?) revient avant la soirée

  • Aaron II (après avoir séquestré Aaron) s’interpose, mais ce n’est pas assez, il revient (Aaron III) avec Abe (II)

  • Aaron III agit efficacement, mais il doit rencontrer et écarter Aaron II (avant la soirée, chez Aaron)

  • Si Aaron II ne voyage pas, Aaron III n’apparaît pas

  • Si Aaron III n’apparaît pas, alors Aaron II s’interpose, mais ce n’est pas assez et il doit revenir… Effet nœud papillon (boucle infinie)

    Dans le film Aaron II semble continuer(enregistrement) mais il doit voyager pour qu’Aaron III rejoue la soirée (sans l’avoir fait lui-même)

The party

L impossible conclusion

  • Si Abe II sabote les machines, Abe et Aaron ne pourront pas voyager

  • Si Abe et Aaron ne voyagent pas, il n’y pas de Aaron II, III, ni de Abe II

  • S’il n’y pas de Abe II, Aaron et Abe font le voyage, etc.

    Effet nœud papillon, ou dent de scie finissant en nœud papillon

    Autre modèle temporel (dimensions parallèles, divergentes)?

L’impossible conclusion

Combien de timelines

Combien de timelines?

A moins que

“I'm not going to pretend like I know anything about paradoxes... or what follows them, and honestly, I really don't believe in that crap. Kill your mom before you were born, whatever. It has to work itself out somehow”.

A moins que…




L’interaction des personnages dans plusieurs films.

L’axe horizontal est l’axe du temps,

le regroupement des lignes indique quand les personnages sont ensemble


IGNFF: The film deals with time travel. Is that a fascination of yours? CARRUTH: It's in there because it satisfies the theme. I knew what the story was thematically before I knew it had anything to do with science or science fiction. I knew I was talking about a story where we're gonna have a conventional relationship with these guys. Because it's something, some device or power is going to be introduced that's going to change what's at risk, what they are liable to lose if that trust is broken. And that's going to be the thing that unravels their relationship, and not just relationships, I was interested in it because I think it's universal, whether you're talking about power structures in politics or whatever. And so, this device, once I knew that my setting was innovation and we're talking about actually making something, when I went through the list of what this thing could be, when I got to device that affects time, it did seem like, okay, not only does it satisfies the theme: People finding themselves in somebody else's past and how unnerving that would be. To me that's kind of worse than any physical harm, so it definitely satisfies that, but I thought there was also almost a common-sense way that this machine should work and that they should be using it… I just thought it was really interesting. The paradoxical stuff, the causality of it just seems to reaffirm the theme over and over again, this man against himself and other people, it just really satisfied everything I was interested in.

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