"during the third act shouldn't the zero g/falling have translated into every dream level?"
Derivatives. Arthur experiences the first kick of falling off the bridge, and so knows he's falling at 9.8 m/s^2. But within the hotel dreamworld, there's no acceleration; everything is moving at a constant velocity (m/s, no ^2), which, within that internal reference frame, means there's no acceleration at all. Think about being on a moving train or in a plane. There's the initial jerk of acceleration, but once you're at a steady speed, you can move around just like you were on solid ground (which itself is moving at a certain BIGNUM velocity which we ignore every single day). So Fisher, Eames, and Co. don't feel any acceleration. Again: van at x m/s^2 translates to hotel at y m/s (and therfore there is no acceleration; gravity is canceled) leaving z m in the fortress; meaning there is no effect whatsoever (other than a possible displacement for which there is no way to check; unless there was a line I'm forgetting about them starting out farther from the fortress than they intended). Gravity resumes as normal because the dreamer is feeling no acceleration from the level above (for this to happen, g would have to be increasing noticeably; i.e., there'd have to be a rate of acceleration: meters per second per second per second.
... Mind Heist was mind-blowing. I'm still curious about the foghorn sound. Zimmer has talked a lot about how he draw it from a slowed down version of Piaf. How about you? Did you know he was going to use it, or was he even inspired by you?
... Regarding background information on the creative process for working on the 3rd Inception trailer, unfortunately I'm not aloud to discuss that, due to contractual non-disclosure issues. Hopefully in the future such restrictions will be lifted, and I can do my best at trying to sound really important as I discuss the project.
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