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Martin Scorsese & Jude Law Hugo Part 1

h3Hugoh3bCastbJudeLawBenKingsleySachaBaronCohenAsaButterfieldChloGraceMoretzChristopherLeeEmilyMortimerbrbDirectorbMartinScorsesebrbGenrebAdventureDramaFamilybrbRatedbPGbrbRunningTimeb126minutesbrbrbSynopsisbHugotellsthestoryofanorphanboylivingasecretlifeinthewallsofaParistrainstation.Withthehelpofaneccentricgirlhesearchesfortheanswertoamysterylinkingthefatherherecentlylosttheilltemperedtoyshopownerlivingbelowhimandaheartshapedlockseeminglywithoutakey.BasedonBrianSelznicksawardwinningandimaginativeNewYorkTimesbestsellerTheInventionofHugoCabretthismagicaltaleisAcademyAwardwinnerMartinScorsesesfirstfilmshotin3D.brbrbReleaseDatebJanuary12th2012brbWebsitebahrefhttpwww.hugomovie.com.autargetblankrelnofollowwww.hugomovie.com.auabrbrbrbFilmInspiresAuthorBookInspiresFilmmakerbbrGrowingupinasectionofNewYorkCityknownasLittleItalyinthe1940sand50sayoungMartinScorsesefoundadeepconnectioninsidethemoviehousesofthetimenotjusttotheexperienceofviewingmotionpicturesbutalsoaclosenesstohisfatherwhosatwithhiminthedarkenedauditoriumfosteringthefuturefilmmakersnascentloveoftheartform.SowhenBrianSelznicksawardwinningnovelTheInventionofHugoCabretlandedonhisdeskviaprolificproducerGrahamKingwhohadpreviouslycollaboratedwithScorseseonthreefilmstheOscarregwinningfilmmakerfoundthetaleprofoundlyresonant.ForMartinScorseseItwasparticularlythevulnerabilityofachildalonethatwasstriking.Hugoslivinginthewallsofthisgiantengineofasortthetrainstationonhisownandhestryingtomakethatconnectionwithhisfatherwhomhehaslost.brbrMartinScorseseremembersIwasgiventhebookaboutfouryearsagoanditwasoneofthoseexperiences...Isatdownandreaditcompletelystraightthrough.Therewasanimmediateconnectiontothestoryoftheboyhislonelinesshisassociationwiththecinemawiththemachineryofcreativity.ThemechanicalobjectsinthefilmincludingcamerasprojectorsandautomatonsmakeitpossibleforHugotoreconnectwithhisfather.AndmechanicalobjectsmakeitpossibleforthefilmmakerGeorgesMlistoreconnectwithhispastandwithhimself.brbrMartinScorseseinturnsharedthebookwithhisyoungestdaughterwhichonlyconfirmedhisbeliefthatthestoryheldamagicalqualityInreadingbookstomydaughterwereexperiencethework.Soitslikerediscoveringtheworkofartagainbutthroughtheeyesofachild.brbrAuthorBrianSelznickrecallsthegenesisofhisbookAtsomepointIrememberseeingATriptotheMoonthemesmerising1902filmbyGeorgesMlisandtherocketthatflewintotheeyeofthemaninthemoonlodgeditselffirmlyinmyimagination.IwantedtowriteastoryaboutakidwhomeetsGeorgeMlisbutIdidntknowwhattheplotwouldbe.Theyearspassed.Iwroteandillustratedover20otherbooks.Thensometimein2003IhappenedtopickupabookcalledEdisonsEvebyGabyWood.ItsahistoryofautomatonsandtomysurpriseonechapterwasaboutGeorgeMlis.brbrItseemsthatGeorgeMlisautomatonsmechanicalfigurespoweredbyinnerclockworkwhichappeartoperformfunctionsontheirownweredonatedtoamuseumoncethefilmmakerpassedtheywerestoredintheatticwheretheyendeduplargelyforgottenruinedbytherainandeventuallythrownaway.brbrBrianSelznickcontinuesIinstantlyimaginedaboyclimbingthroughthegarbageandfindingoneofthosebrokenmachines.IdidntknowwhotheboywasatfirstandIdidntevenknowhisnameIthoughtthenameHugosoundedkindofFrench.TheonlyotherFrenchwordIcouldthinkofwascabaretandIthoughtthatCabretmightsoundlikearealFrenchname.Voila...HugoCabretwasborn.brbrResearchintoautomatonsandclocksthelifeofGeorgeMlisandtheCityofLightsinthe1920sand30sfueledtheauthorsimaginationandthetaleofanadventurousboywholiveswithinthewallsofatrainstationinParistooklifeinterwovenwiththestoriesofthecolorfulcharactersthatsurroundhim.AddinthethreadsofthediscoveryofbothanabandonedautomatonandalargelyforgottenfilmmakerandyouhaveBrianSelznicksbeautifullyillustratedTheInventionofHugoCabretANovelinWordsandPictures.Publishedin2007TheInventionofHugoCabretANovelinWordsandPictureswonthe2008CaldecottMedalawardedbytheAssociationofLibraryServicetoChildrentotheartistofthemostdistinguishedAmericanpicturebookforchildrenandTheNewYorkTimesBestIllustratedBookof2007.ItwasanumberoneNewYorkTimesBestsellerandaFinalistfortheNationalBookAward.brbrProducerGrahamKingMyproducingpartnerTimHeadingtonandIwereenchantedbyBrianSelznicksbook.ImmediatelywethoughtitwouldbeabeautifulstoryforMartinScorsesetocreateintoapieceofcinema.brbrTheteamturnedtoJohnLogantheirwriteronTheAviatortotakeBrianSelznickswordsandillustrationsandtransformthemintoascreenplay.Aswithmostbooktomovieconversionssomethingshadtochange.LogancommentsIhadtocutandchangesomeelementsofBrianSelznicksbooktomakeamorestreamlinedshortermovie.Thedrawingswereextremelyhelpfulbecausetheyremindedmeofmoviestoryboards.Ineffecttheypresentedaroadmapformetofollow.InfactthescreenplayopenswithadescriptionverysimilartoBrianSelznicksfirstdrawingsinthebook.brbrProducerGrahamKingaddressestheperhapsunexpectedpairingofMartinScorseseandthestoryofHugoAllofMartinScorsesesfilmshaveaspecificsensibilitytothemandHugoisnodifferent.Thebeautifulimageryandfantasticperformancesareallthere.Themaindifferenceisthatthisfilmisnotmadesolelyforanadultaudienceitisforeveryone.brbrTotryandreplicatetheexperienceofmovingthroughBrianSelznicksworkMartinScorsesealsoturnedtoadifferentfilmformat.HesaysAsmoviegoerswedonthavetheadvantageoftheliteratureinwhichyoucanbecomeawareofHugosinnerthoughtsandfeelings.Butherewehavehisextraordinaryfaceandhisactionsandwehave3D.Thestoryneededtobechangedtoacertainextentsosomeelementsweredroppedfromthebook.ButIthinkthatcertainimagesparticularlyin3Dcoversomuchterritorythatthebookresonatesinthem.brbrMartinScorsesestrovetohonortheauthorsworkwitheverydecisionandcommentsBrianSelznickandhisbookwerealwaysaninspiration.Wehadcopieswithusallthetime.Thebookhassuchadistinctivelookwhereasourfilmhasitsownlookandfeelverydifferentfromthebookwhichisinblackandwhiteforonething.Wereallywentforablendofrealismandaheightenedimaginedworld.brbrbItMightBeAnAdventureFindingtheCharactersbbrWhenitcametimetofindtheactorswhowouldinhabitthericharrayofrolesinHugoMartinScorsesemadeanoveralldecisionIwentwithBritishactorsforthemostparttobeconsistentandIusethedevicethattheEnglishaccentisfromtheworldthattheyrein.EventhoughitsParis1931itsaheightenedversionofthattimeandplace.brbrFindingtheboytoplayHugowaspossiblythetallestordertofill.Heisthecenterpieceofthefilminamajorityofthescenesandissomewherearound12or13yearsold.WithcastingdirectorEllenLewisyoungactorswerebroughtin.RatherearlyonAsaButterfieldauditionedforthepart.MartinScorseseremembersHereadtwoscenesandIwasconvincedimmediately.BeforemakingthefinaldecisionIlookedatonefilmTheBoyintheStripedPajamas.VeraFarmigawasinthefilmwithhimandIworkedwithherinTheDeparted.Shetoldmeabouthimandsaidhewasveryverygood.brbrAlmostinthesameboattheyoungAsaButterfielddidntreallyknowwhoMartinScorsesewasbuthehadheardgoodthings.AsaButterfieldsaysIknewwhohewasbutIhadntseenanyofhisfilmsbecausemostofthemare18srestrictedto18andoverinGreatBritain.Mymumtoldmethathewasthebest.WhenIgotthejobeveryonesaidOhthatsamazing.HeslikethebestdirectoreverAndsoIslowlybegantorealisehowbigthisactuallywas.Andheisthebestdirector.MartinScorseseneversaysDoinsteadheencouragesyoutoexperimentandsaysTrythis.Andhessuchaperfectionisttherearealwaystheslightestchangesyoucanplaywith.Itsbeenincredible.brbrAsaButterfieldfoundthecharactersinherentmysterytobeabigdraw.HeobservesYouneverknowthatmuchabouthim.Loadsoftraumaticthingshavehappenedtohimhisfatherhasdiedhismothersdied.AndheendsuplivingwithhisUncleinatrainstationdoingamansjob.AndthenhisUncleleavesanddoesntcomeback.Bythetimethestorystartsallthatshappenedtohimandhesjustleftalonewiththisroboticfiguretheautomaton.SohesquitetohimselfuntilhemeetsIsabelleandthenthatstartsgettinghimoutofhisshell.brbrInordertobeseenfortheroleofIsabellegoddaughtertoPapaGeorgesandMamaJeanneAmericanactressChloGraceMoretzadoptedadisguiseofsorts.ScorseserecallsherauditionIwasseeingafewyoungactressesfromEngland.ChloGraceMoretzcameinandshespokewithaBritishaccentandIthoughtshewasfromEnglandaswell.AtthatstagewestartedreadingactorsinpairsforHugoandIsabelleandAsaButterfieldandChloGraceMoretzjustlookedrighttogether.Therewereacoupleofotheractorsandweswitchedthepairsbutthelookswerentright.Notonlydidtheylookrighttogethertheysoundedrighttogether.Theyplayoffofeachotherverywellandtheyhaveverydistinctivepersonalitiesverydifferent.brbrChloeGraceMoretzalsorecallsImethimforthefirsttimeinNewYorkanditwasactuallythefirsttimeIsetfootinNewYorksinceIstartedinthisbusiness.SoitwasareallycoolturnofeventsbecauseIshowupinNewYorkforthefirsttimeinsevenyearsandIammeetingMartinScorseseforthisphenomenalrole.Iwentinandmethimandhewasjustreallywarm.HetoldmeabunchofstoriesandIthoughtWowhesareallycoolguy.brbrChloGraceMoretzwasalsoattractedtothemysteryaspectofthestorybutmoreintheexternalsense.Being13yearsoldasthecharactersaretheresalwayssomethingthatyouwanttofindout.Theresalwayssomethingthatyourepokingandpryingtryingtofigureoutwhatsgoingonorhowsomethingworks.InthismovieIsabelleandHugoarepokingandpryingatpeople.brbrAsfarashavinghistwoyoungerleadsputtingonaperiodstylethedirectorhadafirmnotiondontdoit.HeoffersWedontputupatitlecardthatsays1931.Itdoesntmatterbecausewhatthechildrenarewhattheyneedwhattheyrelookingforhowtheybehaveitscontemporaryitsuniversalitsnotsomethingofatimeandplace.Itssomethingthatisnaturalandthereforeitdoesntmatterwhattimethisfilmtakesplace.Andthechildrensimplybehavelikechildren.brbrForthekeyroleofGeorgesMlisPapaGeorgesthedirectorproducerdidnthavetolookveryfarinanydirection.PerMartinScorseseIvealwayswantedtoworkwithBenKingsleyovertheyearsandfinallyIgotthesetwopicturesShutterIslandwehadareallygoodworkingrelationshiponthatpictureandnowthis.HesanextraordinaryactorreallyoneofthegreatswhichIdontevenneedtosayjustlookathisbodyofwork.Hisrangehisversatility.InanyeventwhenwelookedattheimageofGeorgesMlistherewasnodoubtinmymindthatthelookwouldbeperfectforBenKinglsey.brbrThelookyesbutwhatmatteredevenmoretoBenKingsleywasthephysicalityofthismanindecline.MartinScorsesewasamazedattheperformersexactingtechniqueBenKingsleyworkedoutawayofmovingwithasenseofdefeatadefeatedimpressionofhisbodyadefeatedposture.Thisafterthemanhadbeensoalivemaking500filmsthreefilmsaweekdoingmagicshowsintheeveningandhavingtoshootduringthedaytime.HecreatedawholenewartformandsuddenlyhelosesallofhismoneyhastoburneverythingandwindsupsittingbehindthecounterofatoystoreinaveryquietpartoftheGareMontparnasse.brbrInBenKingsleysresearchhefoundmuchtoadmireonapersonalbasisinGeorgeMlisbeyondthemansvisionarytalentincinema.TheactorrelatesGeorgeMelieshadtheconfidenceandcharismaofagreatstagemagician.Hehadtobeverypreciseintheexecutionofhistrickssawingpeopleinhalflevitationsdisappearancesthatsortofthingandhissleightofhand.Hisprecisionwascontagioustohiscastandcrew.Giventhathemadehundredsoffilmstheymusthavebeenverydisciplinedindeed.HeranatightshipbutIhearheranitveryaffectionately.Herarelylosthistemperorraisedhisvoiceifever.Hehadawayofgentlyremindingpeoplewhattheydforgottentodoremindingthemwhenhehadsaidsomethingbefore.Whatamanhemusthavebeen.brbrJustashischaractershiftsfrommagictocinemaBenKingsleyseesanaturalevolutioninMartinScorsesesventureinto3DfilmmakingIsupposeitsalittlebitlikeanartistgoingfromfineportraitpaintingtolandscapepainting.Itsashiftinthewayheputshisbrushbutitsthesamebrushanditsthesamecanvas.brbrAloomingpresenceinthetrainstationandtheconstantthreattoHugosindependentwayoflifeistheStationInspectoraroleslightlymodifiedfromthenovel.PerMartinScorseseWeaskedBrianSelznickifwecouldopenupthispartbecauseIjustdidntwantittobeafigureoffearbasicallyavillainjusttothreatenandcatchtheboy.IwantedhimtohavealittlemoreflavormorelevelstohimandsoIthoughtbyworkingwithSachaBaronCohenwecouldfindthat.brbrSachaBaronCohendescribeshistakeonhischaracterNownaturallyinanytrainstationitsdangerousforchildrentoberunningaround.Sointhe20sand30swiththeworkingconditionsandsuchifyouhavehomelesschildrenaboutunsuperviseditwouldpresentadangertothepassengersandthekidsthemselves.SoyouhavemeaStationInspector.Hesthiswonderfulfellowwhosutterlyrepulsiveandhorridtochildrenbutyettheresadifferentsidetohim.Hehasagentlerside.Hewasprobablyinanorphanagehimselfandheisactuallyawarinvalid.Heslimitedphysicallybyametallicattachmenttohislegwhichweimplymayhavebeentheresultofawarwoundbutitwasmostlikelyselfinflictedbyaccident.brbrInadvertentlytheactorhadalreadybegunhisownresearchinthephysicalstyleofcomedyofthedayInEnglandIthinkHaroldLloydwasontelevisioneverydayafterschoolsowekindofgrewupwatchinghim.IneverfoundhimthatfunnyatthetimebuttherearereferencesinHugotothosefilmsparticularlySafetyLastwhereheclimbsupabuildinganddoesthisincrediblestuntandgetsstuckonaclockthatfallsbackwards.Wedirectlyreferencethat.SoMartinScorsesewantedmetolookattheseearlycomedianswhichwasveryinteresting.TheyweredoingbrilliantstuffpeoplelikeKeatonandChaplin.YeahIdiscoveredthisveryobscureguycalledCharlesChaplinIbelieveandhisworkisquiteinterestingdefinitelyworthalook.brbrMartinScorsesealsocameupwithanotherwaytoaddfacetstothevillainofthepiece.SachaBaronCohenexplainsWhenMartinScorseseandImetoriginallyweweretalkingaboutwaystomakethevillainnotseemlikeanarchetypalvillainMartinScorsesehadthisideaofbringinginsomeromance.AnditwasquitelovelytohaveEmilyMortimerwhoisawonderfulactressandwomanplaymyloveinterestsothereisabitoflove.YouknowtheInspectorreallyisanastyman.Hesahorriblemanbutdeepdownheisaniceguy.Itsjustreallydeepdown.brbrMartinScorseseexpressesEmilyMortimerisoneofthebestactorsaroundshehasagreatsenseofhumorandshewasawonderfulchoicetoplayaloveinterestforSachaBaronCohenwhichwasuniqueforhimtotry.brbrTheStationInspectorisnttheonlythreattoHugo.HeisbroughttoliveinthetrainstationinfactbyhisestrangedUncleClaudeamenacingloutwhopromptlypawnsoffhismaintenancedutiesontothesmallboy.brbrThedirectorproducerIworkedwithRayWinstoneinTheDepartedwhichwasagreatexperience.RayWinstonehasthispassivemenacehedoesntneedtobeinvolvedinanydialogueoranythingphysicalbutyoucanstillfeelthisdarknesslurkinginhischaracter.IthoughthewouldbringthatthreateninggravitytoHugosUncleClaude.brbrPerhapsevenmorethanperformingintheroleRayWinstoneenjoyedthesharedexperienceofworkingwithMartinScorsesein3D.RayWinstonesaysThejoyformeduringfilmingwasactuallywatchingMartinScorseseworkbecauseitwaslikehewasfallinginlovewithmakingafilmagain.Watchinghimwith3Dwithsomethinghedneverworkedwithbefore...itwaslikewatchingakidwithanewtoy.Andthefeelingwaspalpableandeventuallypassedaroundthecastandcrew.brbrForthekeyfeaturedroleofHugosfatherMartinScorseseneededtofindanactorwhocouldembodyallofthewarmthandgoodnessthattheyoungboyhadexperienceduptothatpointinhislifeinjustafewshortscenes.brbrIworkedwithJudeLawoncebeforewhenheplayedErrolFlynninTheAviator.IalsosawhimonstageasHamletandhewasreallywonderful.Hessounique.HehastheauthorityandthecharmforthispartandIdlovetobeabletoworkwithhiminalongerprojectoffersMartinScorsese.brbrJudeLawprofessesIknewthebookbecauseIdalreadyreadittomychildren.SoIwentbackandrereaditandItalkedtomychildrenaboutitandaskedthemtheirimpressionsofthefather.IgottotalktoaclockmakerandIlookedatautomatonssoIhadacertainknowledgeofhowtoholdthingsandiftheywerereferringtotoolsIdknowwhattheywere.ButotherwisetomereallyitwassimplyaboutcreatingaverywarmandheartfeltchapterinHugoslifeknowingthatthemajorityofthestorysetshiminquiteacoldworld.Iwantedtomakesurethatyourealisehehadbeenloved.IthoughtitwasreallyimportantthatIcarrymyexperiencesofbeingafatherintoit.brbrFortheroleofMonsieurLabissewhorunsabookshopinthetrainstationMartinScorsesefinallyhadtheopportunitytoworkwithatrulylegendaryperformer.HestatesOnthisfilmIfinallygotthechancetoworkwithChristopherLeewhosbeenafavoriteofminefor5060years.brbrThe89yearoldChristopherLeerecallstravelinginFrancein1931Irememberverywellthoseshopscafsandrestaurants.Sotomeinawayitslikesteppingintomypast.MycharacterissortofaguardianangelandIhelpopentheworldtothesechildrenthroughliterature.brbrChristopherLeewasthrilledtofinallybeabletocrossMartinScorseseoffofhislistNottoflatterMartinScorsesebutIsaidtohimIhavemorecreditsprobablythananyoneintheindustryalivetodaysoImtold.ButIalwaysfeltthatmycareerwouldnotbeabsolutelycompleteunlessIdidafilmwithyoubecauseIveworkedwithJohnHustonOrsonWellesRaoulWalshStevenSpielbergTimBurtonPeterJacksonandmanymanymanymanyothersbutneverwithyou.Alongcomesthisstoryandobviouslythereissomethingforme.SofinallybrbrMartinScorsesecastHelenMcCroryinthepivotalroleofMadameJeannethesupportandprotectoroftheagingMliswhoatonetimewashismuse.MartinScorseseexplainsIhadseenHelenMcCroryinTheQueenasMrs.BlairandinaBritishtelevisionseriesofAnnaKareninaandshewasexcellent.WegottomeettalkedandIthoughtshewouldbeperfectfortherole.ItsacomplexsituationMadameJeannewhosupportsherhusbandhasworkedwithhimforyearsandwantshimtogetpastthebitternessofhisgreatdisappointmentinlife.Shewaswonderfulworkingindifferentlayersshadesandcolorsintoherperformance.brbrThecrucialroleofReneTabardthefilmscholarwhothankstoHugoandIsabellerediscoversMlisandarrangesthegalainhishonorattheFrenchFilmAcademywenttotheversatilescreenandstageactorMichaelStuhlbarg.MartinScorsesewasdelightedatbeingreunitedwithhim.ThisisthethirdtimeMichaelStuhlbargandIhaveworkedtogether.HeappearedinthecommercialforFreixenetchampagneIshotthatwasanhomagetoAlfredHitchcockandhealsoplayedaleadingroleinBoardwalkEmpire.MichaelStuhlbargsrangeasanactorisastonishing.Hecanswitcheffortlesslyfromdramatocomedyfromacontemporaryfilmtoaperiodpiece.HesequallybrilliantasavicioushardenedcrimebossinBoardwalkorinHugoasagentleselfeffacingfilmhistorianwhoidolisesGeorgeMlisandisinaweofhismovies.ItwasagreatpleasureworkingwithMichaelStuhlbargagain.brbrAgreatdealofthelocalcolorofthetrainstationisprovidedbypeoplewhodependuponthetrafficinthestationsmainhallfortheirlivelihoodwhichincludetheflowersellerLisetteMortimerthebooksellerLabisseLeeagentlemanwhorunsthenewsstandMonsieurFrickandhisneighborwhorunsthecafMadameEmilie.FortheroleoftheslightlyeccentricpotentialcoupleMartinScorseseslottedtwoofGreatBritainsfinestcharacteractorsRichardGriffithsoneofthegreatestactorsworkingtodaystatesScorseseandFrancesdelaTourIvealwaysbeenagreatadmirerofhersheadds.brbrThedirectorelaboratesThecharactersthatJohnLoganplacedinthislittleworldofthestationinourimpressionofParisatthattimeIcallthemthevignettestheyinhabitthisworld.Theyworkthereeveryday.AllthesecharactersweremeanttoweaveinandoutofthepicturewitheverybodytryingtoconnectwitheachotherthewayHugoistryingtoconnectwithhispast.brbrMartinScorseseapproachedthevignetteswithalighttouchandshotthemalmostlikeasilentfilm.Thecharactersquietlyalmostwordlesslymoveinandoutofframeastheyrelatetoeachother.Justwatchingthemscenariosarisewhichaddtotheatmosphereandthefeelofthetrainstation.brbrAstheStationInspectorsmenacingdogMaximillianthreetrainedDobermanswerebroughtinBlackiewasusedinmostsceneswithEnzoandBorsalinointhewingstocover.TrainerMathildedeCagnyalsooversawtheuseofthelonghaireddachshundswhichplayintothestoryofFrickandEmilieacatforeverperchedatopapileofbooksinLabissesshopandseveralpigeonswhatsaclocktowerwithoutpigeons.MathildedeCagnyherselfwasusuallycostumedandstationedinthecrowdnearenoughtotheactiontodirecttheanimalsbutnotevidentenoughtopullfocusandspoiltheshot.Whennocrowdswerepresentshewasoutfittedinagreenscreensuitforeasyremovalinpostproduction.brbrTofilltheroleofoneveryspecialcharacterwhoiscentraltotheplotanditsunfoldingfilmmakersturnedtopropsmasterDavidBalfourwhoworkedwithproblemsolvingpropbuilderDickGeorgecreatorofHugosautomaton.brbrDickGeorgeoffersHesacharacterinhimselfsoinawayitslikebuildingalittlehumanbeing.Atotalof15automatonswerebuiltforfilmingeachonetoexecuteadifferentmoveorserveadifferentpurposewithinthescript.brbrDickGeorgecontinuesTheadvantagethatwehaveinmanufacturingthispieceisthatwehaveallmoderntechnologiesatourdisposalwhichearlyclockmakersdidnthave.Howevertheyhadawealthofexperienceandunderstandingofclockworkmechanisms.Theearlyautomatonsweredrivenonacamsystemandtheinformationwasprogrammedinletterbylettersotheamountthatitcouldactuallywriteordrawwasquitelimited.Inourcasebecauseitsacomputerprogramitcandrawabsolutelyanything.brbrOfhistaciturncostarAsaButterfieldnotesItsreallyodd.Itdoesfeellikehesanotheractor.WhenIheardthatIwasgoingtobeworkingwitharobotforaportionofthismovieIthoughtitmightlookliketheTinManfromTheWizardofOzbutitlookssohuman.brbrBenKingsleyobservesTheautomatontookonalifeofitsown.ItwasverytouchingandbeautifultowatchthelittlechapturnhisheaddiphispenintoapotofinkanddrawthefaceofthemoonwhichIwatcheditdowithmyowneyes.TherewasonescenewhereHugocomestoGeorgeswhilecradlingtheautomatonwhichreallyisachildholdingalostchild.ThenItakethelittlechapinmyarmsandwewalkoffandthenitsreallythreechildrenwalkingaway.brbrimgsrchttpwww.girl.com.augraphicshugo2.jpgalignrightvspace5hspace15bSeeingDreamsintheMiddleoftheDayFindingtheRealMeliesbbrIhadaDVDsetofcourseofMlisfilmsandtheresanimageofMlisonthecoverMartinScorsesesays.Onedayonthesettwoofthekidsinthemoviewentbybothabout12yearsold.OnesawtheDVDboxandsaidOhtheresBenKingsleyIrespondedNothatsreallyMlis.YoumeanheexistedhesrealIsaidOhyes.brbrGeorgesMliswasnotthefirsttomakefilmsthathonorbelongstotwobrothersAugusteandLouisLumirewhoinventedmovingpicturesin1895andwentontomakehundredsoffilmsmostlydocumentingreallifeeventse.g.oneoftheirfirstLArriveduntrainLaCiotathadearlycinemagoersliterallyjumpingoutoftheirseatsasahugesteamengineracedthroughtheframe.Thestorygoesthatthebrothershoweverbelievedthisnewpastimetobeliterallyapassingfancy.brbrGeorgesMlisthoughtotherwise.EschewingthefamilybusinessofshoemakingMlissoldthefactoryandtooktheproceedstofundthebeginningofhischosenprofessionmagic.HepurchasedatheaterformerlyownedbyhismentorJeanEugneRobertHoudinthemagicianwhoinspiredtheyoungEhrichWeisstochangehisnametoHarryHoudiniandbeganperforming.brbrHesawhisfirstmovingpicturewhenhewas34andtohimthisnewartformheldgreatpromise...formagic.HeconstructedhisowncamerasandprojectorswiththehelpofR.W.PauloftentimesrepurposingpartsfromacollectionofautomatonsRobertHoudinhadleftbehind.Hisearliestfilmsrecreatedhisstageperformances.Howeverhesoonbegantoexperimentwithstorytellingandeditingtechniquesgivingrisetosomeoftheearliestcinematicspecialeffectsincludingstopmotiontimelapsephotographymultipleexposuresanddissolvesandhandpaintedcolors.Helatersoldhistheaterandbuilthisstudiowithastageentirelyofglasstobestutiliseallavailablelightatitsheart.brbrWhatsamazingaboutMlisoffersMartinScorseseisthatheexploredandinventedprettymucheverythingthatweredoingnow.Itisinadirectlineallthewayfromthescifiandfantasyfilmsofthe30s40sand50suptotheworkofHarryhausenSpielbergLucasJamesCameron.Itsallthere.Mlisdidwhatwedonowwithcomputergreenscreenanddigitalonlyhediditinhiscameraathisstudio.brbrHismasterpiecethe14minuteLevoyagedanslaluneATriptotheMoonwasfilmedin1902.Hewentontowritedirectactinproduceanddesignmorethan500filmsby1914withsubjectsrangingfromrealityrecreationsofcurrenteventstofantasyscififromKingdomoftheFairiestoTheImpossibleVoyagewithplayingtimesfromoneto40minutesinlength.MlisisoftenreferredtoastheFatherofNarrativeFilmmakingwithmanycreditinghimwiththebirthofthefantasysciencefictionandhorrorgenres.brbrBecauseofanunfortunateincidentwithThomasAlvaEdisonwhoacquiredaprintofMlis1896TheHouseofDevilduplicatedandexhibiteditintheU.S.withgreatsuccess...withoutgivinganyprofitstoMlisthefilmmakerbegantofilmtwoprintssimultaneouslyoneforEuropeanandoneforAmericanexhibition.RecentlyafilmhistoriancombinedbothprintsofTheInfernalCakeWalkandfoundtheresultingimagetobeacrudeprecursorto3Dcinema.brbrAdvancesintheartofcinemalaterleftMlisbehindandwiththeoutbreakofWorldWarIhesawhisappealwaning.Heeventuallyabandonedhisstudioburnedhiscostumesandsetsandsoldthecopiesofhisfilmstobemelteddownforchemicaluse.brbrTosupporthimselfhissecondwifeandhisgranddaughterMlisworkedinaconfectionaryandtoyboothsevendaysaweekatoneofPariscentraltrainstationsGareMontparnasseinthe1920s.HeremainedlargelyforgottenuntiltheartisticcommunityofFrenchSurrealistsdiscoveredhisworkconnectingwithhisdreamlikevision.RenewedinterestledtoagalainPariswithMlisfrontandcenterscreeningmanyofhisworks.HewasevenworkingonanewfilmTheGhostsoftheMetrowhenhediedin1938.brbrMartinScorseseremarksWhenIfirstreadthebookIdidntrealisethattheoldergentlemaninthetoystorewasgoingtoturnouttobeGeorgesMlis.Itsatruestory.HewasbrokeanddidwindupinatoystoreattheGareMontparnassefor16years.brbrBenKingsleyexplainsThefictionalisingisdiscreetinourfilm.ItwasbelievedbymanythatGeorgesdiedaroundaboutthetimeoftheFirstWorldWarbutheactuallyisolatedhimselfinhisshop.Itsbeenrecreatedwonderfullyfromphotographsandfrompeoplewhowereclosetohim.Thenudgeofhistoryisdelicateandcharming.brbrbBalancingRealismandMythMartinScorsesesParisof1931bbrTorecreatetheworldofParisintheearly30sasfilteredthroughHugoCabretafictionalcharacterScorseseaimedtocreateasheputitabalanceofrealismandmyth.HebroughtresearcherMarianneBoweronboardwholookedtolendauthenticitysupportedbyhistoricalphotographsdocumentsandfilmsoftheperiod.Shenarrowedhersearchtoisolatethetimeperiodof1925to1931.brbrAsacourseofstudyforthecreativedepartmentsmembersofTeamHugowatchedabout180ofMlisfilmsabout13hoursworthalongwithfilmsofRenClairandCarolReedavantgardecinemafromthe1920sand30s.TheywatchedfilmsoftheLumirebrothersandsilentfilmsfromthe20stostudyperiodtintingandtoning.ReferencewasnotlimitedtomovingpicturesastheyalsostudiedstillphotographyofBrassaHungarianphotographerGyulaK.HalszwhomemorialisedParisbetweentheWarsfortheperiodlookoftheParisianstreetsandtheappearanceandbehaviorofthebackgroundactors.brbrWhilesomelocationfilmingwouldtakeplacethemajorityoffilmingwastobedoneatEnglandsSheppertonStudioswheretheproductiondesignerDanteFerrettiwouldsupervisetheconstructionofHugosworldwhichincludedalifesizetrainstationwithallofitsshopsMlisentireapartmentbuildinghisglassstudiobuildingabombedoutstructurenextdoorafullystockedcornerwineshopandanenormousgraveyardmarkedbyhugemonumentsandstonecryptsamongothers.brbrThecenterpieceofthetalethestationwasanamalgamationofdesignelementsandstructuresliftedfrommultipletrainstationsoftheperiodsomestillinexistencewhichprovedhelpfultomanyoftheartistssadlyGareMontparnassewasdestroyedandrebuiltanewin1969.PerMartinScorseseOurstationisacombinationofseveraldifferenttrainstationsinParisatthattime.AlsoourParisisreallyaheightenedParis...ourimpressionofParisatthetime.brbrDanteFerrettisimpressivesetswerebroughtevenmoreintotheperiodwiththehelpofsetdecoratorFrancescaLoSchiavowhojoyfullyadmitsthatshehadthepitiabletaskofrepeatedshoppingtripstofleamarketsinandaroundParis.Shealsosupervisedthereproductionofpostersfrom193031foruseinthestationandonsomebuildingexteriors.SomedesignelementswerealsoinspiredreferencestosomeofthebestofFrenchcinema.brbrAnexperiencefromDanteFerrettisyouthalsoprovedquiteusefultothedesigneratageeightthefatherofhisbestfriendworkedwithclocksandoncehebegantoincorporatethemintohisdesignsallmymemoryaboutthiscameback...Ihadforgotteneverything.TheactualconstructionoftheclocksthemselveswasdonebyJossWilliamsofspecialeffects.brbrWhenfinishedthemainhallofthetrainstationfilledasoundstagerunning150feetinlength120inwidthand41inheight.TheoverwhelminglyimmersiveenvironmentallowedScorseseanddirectorofphotographyRobertRichardsontofilmallthemovementbustleandcollisionofthemultiplestoriesdictatedinLogansscreenplayincludingaratherbreathlesschasebetweentheStationInspectorandHugo.brbrCostumedesignerSandyPowellalsolookedtothepastforinformationandinspirationbutalsoplayedfullywiththeideaofMartinScorsesesimpressionofParisagenda.Vintageclothingfiguredheavilyforreferenceandforactualusebutforthoseactuallywornbyanactortheyhadtobesubjectedtostrengtheningattheveryleastorevenremade.brbrSandyPowellfoundHugossignaturestripedsweaterthenhadcopiesmadeseveralsetsofidenticalcostumeswerenecessaryforcharacterswhoappearinlargelyunchangedoutfitsthroughoutthefilm.WhenHelenMcCroryappearsasaconstellationinoneofMlisfilmsshewasoutfittedinafoundskirtfromanoldcostumeorballgownfromthe40sor50sPowellsurmiseswhichwithaddedbodicewasrefashionedintotheairycostumebefittingastar.BenKingsleyscostumesasMlisweretakendirectlyfromphotographsthenpaddedtonotonlygivetheactoramoreslumpedsilhouettebutalsotoremindhimnottostandupstraight.brbrButhistorydidnotalwayshavethefinalsayfortheStationInspectorsuniformSandyPowellrejectedthebottlegreencolorcalledforinfavorofanearturquoiseblue.brbrbMartinScorseseJudeLawHugoPart2ahrefhttpwww.femail.com.aumartinscorsesehugopart2.htmwww.femail.com.aumartinscorsesehugopart2.htmabbr


 



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