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Your subconscious recognizes that what just flowed into it is the same as what it just created, and your mind sparks, and your subconscious communicates this information back to your conscious mind. These images of the cars all stopping flows into your head, and through your subconscious. The cars stop just how you predicted, the music is just like you predicted, they are the colour you just predicted, etc. We are in our cars, have just made 100 predictions, and little do we know, that one of them is about to be shown as correct.
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Unfortunately, our minds are limited in how much they can do, and so we cannot always be sure we have a correct prediction.
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If our subconscious could predict an infinite number of possible outcomes, then we would essentially always have at least one correct prediction. Imagine predicting not only that the cars will stop, but which cars will come around the corner, how fast they will move, how hard they will hit their brakes, the looks of the drivers, do some spill their coffee?, the music they are playing, etc. Also, that our subconscious not only predicts a few things here and there, but is capableand readily doespredict hundreds of different outcomes for any one event. Now, I propose that our minds do this subconsciously all the time, and at a level of detail far greater than what our conscious minds can grasp. This is a simple concept of gathering information, and predicting what new information will be available based on the information you just gathered. We turn on the light switch, we expect the light to come on.
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The light turns red, we expect to see people stop. Part of figuring things out is making predictions. Our minds are constantly working, thinking, trying to figure things out. I've done this before.? Let me offer this theory: Like all time-travel films, there's a jarring, nonsensical moment when the altered past has to meet the join of the unaltered present, but it's all carried off with a mad and silly energy, with muscular direction from Scott and cut together with frenetic fizz by editors Jason Hellman and Chris Lebenzon.Long ago I gave this some thought, and came to what I believe a reasonable conclusion that might help explain deja vu. He actually smashes into people while he is doing this, his mighty Hummer crushing their paltry civilian automobiles! Tony Scott duly exploits the opportunity to show cars crashing innocent people must have been grievously hurt, surely? But does Washington worry? Heavens, no! He shares the director's own magnificent indifference.
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The best bits come when Washington is still in the here and now, zooming merrily along in a Humvee using a special portable virtual-reality scanner clamped to one eye to track the killer's past movements, driving along this same highway four days previously. As in Jonathan Demme's remake of The Manchurian Candidate, the film paradoxically feels more comfortable with a white American in the terrorist-villain role, rather than an alienated Arab or Muslim: an approach that avoids ethnic offence and even appears daringly liberal, but actually implies that only Americans are equal to the task of successfully attacking other Americans. We find out early on that the terrorist culprit is an American, played by Jim Caviezel, an ultra-patriot extremist nut. After an awful, plasma-screen-smashing row about the ethics of the whole business, the scientists are persuaded to let Washington hunch into their special pod, resembling the nosecone of Apollo 9, in which he can travel back in time, on a desperate mission to prevent the bombing and get jiggy with Claire in her pre-corpse state.
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Their invention is like one of those Sky+ gizmos that allows you to "freeze" live TV sports events while you make a cup of tea, and then lets you resume watching on a time-delay. Who was she? How did she fit in? Carlin is astonished to find that a top-secret team of funky boffins can help him: using Einsteinian know-how to bend time and watch events unfolding anywhere in the world, four days ago. Washington conceives for the spiffing stiff what I have to say is an unwholesome and necrophiliac tendresse. She is a drop dead gorgeous gal who has dropped dead. Washington's heart is melted by discovering the body of a beautiful woman called Claire (Paula Patton) who appears to have been separately killed by the terrorist before the bombing took place.